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The History of the Jamestown Colony: Seventeenth-Century and Modern Interpretations
The History of the Jamestown Colony: Seventeenth-Century and Modern Interpretations A Senior Honors Thesis Presented in Partial Fulfillment of the Requirements for graduation with research distinction in History in the undergraduate colleges of the Ohio State University By Sarah McBee The Ohio State University at Mansfield June 2009 Project Advisor: Professor Heather Tanner, Department of History Introduction Reevaluating Jamestown On an unexceptional day in December about four hundred years ago, three small ships embarked from an English dock and began the long and treacherous voyage across the Atlantic. The passengers on board envisioned their goals – wealth and discovery, glory and destiny. The promise of a new life hung tantalizingly ahead of them. When they arrived in their new world in May of the next year, they did not know that they were to begin the journey of a nation that would eventually become the United States of America. This summary sounds almost ridiculously idealistic – dream-driven achievers setting out to start over and build for themselves a better world. To the average American citizen, this story appears to be the classic description of the Pilgrims coming to the new world in 1620 seeking religious freedom. But what would the same average American citizen say to the fact that this deceptively idealistic story actually took place almost fourteen years earlier at Jamestown, Virginia? The unfortunate truth is that most people do not know the story of the Jamestown colony, established in 1607.1 Even when people have heard of Jamestown, often it is with a negative connotation. Common knowledge marginally recognizes Jamestown as the colony that predates the Separatists in New England by more than a dozen years, and as the first permanent English settlement in America. -
Discord, Order, and the Emergence of Stability in Early Bermuda, 1609-1623
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1991 "In the Hollow Lotus-Land": Discord, Order, and the Emergence of Stability in Early Bermuda, 1609-1623 Matthew R. Laird College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the History Commons Recommended Citation Laird, Matthew R., ""In the Hollow Lotus-Land": Discord, Order, and the Emergence of Stability in Early Bermuda, 1609-1623" (1991). Dissertations, Theses, and Masters Projects. Paper 1539625691. https://dx.doi.org/doi:10.21220/s2-dbem-8k64 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. •'IN THE HOLLOW LOTOS-LAND": DISCORD, ORDER, AND THE EMERGENCE OF STABILITY IN EARLY BERMUDA, 1609-1623 A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Matthew R. Laird 1991 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Matthew R. Laird Approved, July 1991 -Acmy James Axtell Thaddeus W. Tate TABLE OP CONTENTS Page ACKNOWLEDGMENTS....................................... iv ABSTRACT...............................................v HARBINGERS....... ,.................................... 2 CHAPTER I. MUTINY AND STARVATION, 1609-1615............. 11 CHAPTER II. ORDER IMPOSED, 1615-1619................... 39 CHAPTER III. THE FOUNDATIONS OF STABILITY, 1619-1623......60 A PATTERN EMERGES.................................... -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
ISC Program 16 Web Version+One
RICHARD GRIFFITH PARK FREE SHAKESPEARE FESTIVAL JUNE 25 - SEPT 4 the TEMPEST INDEPENDENT SHAKESPEARE CO. SHAKESPEARE SET FREE INDEPENDENT SHAKESPEARE CO. / GRIFFITH PARK FREE SHAKESPEARE FESTIVAL Recently, a long time audience member, Frank Lopes, shared a celebrates Shakespeare’s stories and language, the natural beauty sonnet that he wrote about a tree. of the park, and the communion between the audience and the players that takes place night after night. It’s a lovely tree--in fact, you can see it right now, from where you It is a gift to create theater for the Los Angeles community, and our are sitting. If you’re looking towards the Festival stage, it’ s just to efforts are reciprocated tenfold. You really are the engine that pow- the left. Before a performance, you’ll often find actors and audi- ers the Festival. Your financial donations keep the Festival running. ence members sitting under it, enjoying the shade: Your generosity of spirit when we meet you after performances (or Into the sky towards providence do reach onstage at intermission) is deeply moving. We love taking pictures The wise and solemn bows of mighty tree. with you, chatting with you season after season--and in some And when night’s air of summer words do breech, cases, watching you grow up! Those magic words of past set people free. Oh,Tree! What beauty hast thou witnessed here? Every so often a pizza is delivered to us backstage, or a plate of Of lives, of loves, of kingdoms lost to dust, cookies, or a bottle of champagne. -
Text-In-History: the Tempest and New World Cultural Encounter
7H[WLQ+LVWRU\7KH7HPSHVWDQG1HZ:RUOG&XOWXUDO %-6RNRO(QFRXQWHU George Herbert Journal, Volume 22, Numbers 1 and 2, Fall 1998/Spring 1999, pp. 21-40 (Article) 3XEOLVKHGE\*HRUJH+HUEHUW-RXUQDO DOI: 10.1353/ghj.2013.0062 For additional information about this article http://muse.jhu.edu/journals/ghj/summary/v022/22.1-2.sokol.html Access provided by University of Athens (or National and Kapodistrian Univ. of Athens) (6 Jun 2015 14:56 GMT) B.J. SOKOL Text-in-History: The Tempest and New World Cultural Encounter In the mid-1960s, Edward Tayler's Renaissance poetry seminar at Columbia University "privileged" me with an unforgettable intro- duction to the enigmas of poetry in history. Tayler chose Marvell's "An Horatian Ode" to incite a discussion of a seeming clash between maintaining an honest historical poetic reading, and decency in the terms of present-day political sensibilities.1 The reconciliation of a personal response to works containing both great literary merit and also outworn, now seemingly ugly, attitudes, remains for me a painful enigma. A great teacher leaves the lucky student with a lifetime's problems or questions. As I recall, Tayler's Socratic teaching demonstrated that, typically, great poetry is untypical: hard to use to exhibit generalities, resistant to reduction, even slippery. The best English Renaissance texts tend to show us up, are humbling. I have come to wonder if like the texts themselves, problems over texts-in-history may demand an attentive and malleable approach to history also, untrammeled by stereotyping. My test case will re-examine ways in which the first English colonial ventures in North America connected with (to use a deliberately neutral term) the composition of The Tempest.1 Lately, readings of this play in terms of colonialism have been rife. -
Shakespeare Uncovered Viewing Guide
© 2013 WNET. All rights reserved. Teaching Colleagues, Shakespeare Uncovered, a six-part series airing on PBS beginning on January 25 th , is a teacher’s dream come true. Each episode gives us something that we teachers almost never get: a compelling, lively, totally accessible journey through and around a Shakespeare play, guided by brilliant and plain-spoken experts--all within one hour. I’m not given to endorsements, but oh, I love this series. Why will we teachers love it and why do we need it? • Because, as we learned from the very start of the Folger Library’s Teaching Shakespeare Institute, teachers tend to be more confident, better teachers if they have greater and deeper knowledge of the plays themselves. • Because no matter what our relationship with the plays – we love them, we struggle with them, we’re tired of teaching the same ones, we’re afraid of some of them – we almost never have the time to learn more about them. We are teachers, after all: always under a deadline, we’re reading, grading, prepping, mindful of the next deadline. (And then there’s the rest of our lives . ) Shakespeare Uncovered is your chance to take a deep, pleasurable dive into a handful of plays—ones you know well, others that may be less familiar to you. In six episodes, Shakespeare Uncovered takes on eight plays: Macbeth, Hamlet, The Tempest, Richard II, Twelfth Night and As You Like It, Henry IV, Part I, and Henry V . The host of each episode has plenty of Shakespeare cred--Ethan Hawke, Jeremy Irons, Joely Richardson and her mom, Vanessa Redgrave, for example--but each wants to learn more about the play. -
A True Reportory of the Wreck and Redemption of Sir Thomas Gates
Note: Britain was in the earliest stages of exploring and colonizing North America around the time that Shakespeare wrote The Tempest. Many plot elements and themes in the play reflect the beginning of colonialism in Britain. As well, the following document may very well have inspired the story of shipwrecked nobles that makes up the plot to the play. A True Reportory of the Wreck and Redemption of Sir Thomas Gates, Knight, upon and from the Islands of the Bermudas: His Coming to Virginia and the Estate of that Colony Then and After, under the Government of the Lord La Warr, July 15, 1610, written by William Strachey, Esquire A most dreadful tempest (the manifold deaths whereof are here to the life described), their wreck on Bermuda, and the description of those islands EXCELLENT LADY, Know that upon Friday late in the evening we brake ground out of the sound of Plymouth, our whole fleet then consisting of seven good ships and two pinnaces, all which, from the said second of June unto the twenty-third of July, kept in friendly consort together, not a whole watch at any time losing the sight each of other. Our course, when we came about the height of between 26 and 27 degrees, we declined to the northward, and according to our governor’s instructions, altered the trade and ordinary way used heretofore by Dominica and Nevis in the West Indies and found the wind to this course indeed as friendly, as in the judgment of all seamen it is upon a more direct line, and by Sir George Somers, our admiral, had been likewise in former time sailed, being a gentleman of approved assuredness and ready knowledge in seafaring actions, having often carried command and chief charge in many ships royal of Her Majesty’s, and in sundry voyages made many defeats and attempts in the time of the Spaniard's quarreling with us upon the islands and Indies, etc. -
Shakespeare's Virgil : Empathy and the Tempest
chapter 4 Shakespeare’s Virgil : empathy and Th e Tempest Leah Whittington Empathy is a subject that could easily fi nd a home in any one of the sec- tions of this volume. After all, early modern thinking about emotional identifi cation with another person – whether described as pity, compas- sion, or fellow-feeling – draws from the wellsprings of both classical and Christian ethics. To attempt to separate one from the other may be not only impossible but also undesirable, especially given that Shakespearean drama often takes its energy from the very confl ation or juxtaposition of ethical registers. Th e awakening of Hermione’s statue in Th e Winter’s Tale is part Ovidian metamorphosis, part Christian resurrection. Lear’s recon- ciliation with Cordelia derives much of its power from the vertiginous blending of New Testament forgiveness and Seneca’s theory of reciprocal benefi ts. 1 Nevertheless, in this chapter I aim to treat Shakespeare’s ethics of empathy as a facet of his classicism, both because the classical aspects of empathy in Shakespearean drama are less well understood than the Christian and because a classically focused consideration of empathy illu- minates Th e Tempest in a new way. Th e impetus for this approach comes from the rhetorical orientation of the humanist curriculum, in which learning to speak well also meant learning to inhabit and imitate the liter- ary voices of the classical past. 2 While Shakespeare would have had access to ethical assessments of fellow-feeling in a variety of philosophical, reli- gious, and political texts, his education in empathy in the schoolroom began through reading and imitating literary works of classical antiquity. -
Theme Source Flow
Virginia & other New World reports Shakespeare’s Tempest (Echoes of Thessalonians in this typeface) Voyage of the Sea Venture • Flagship separated from fleet • Deafening thunder, darkness; howling Hurricane, wreck on Bermuda, • Ship leaking, fear of splitting social turmoil, capable leadership, • Safely lodged in rock crevice organized effort, and deliverance • Beauteous, spirit-infested, storm-prone island • “Still-vexed Bermudas” St. Paul, 2 Thessalonians Governor labors like others, both in the • Low and high conspiracies to remain on storm and ashore the island, usurp the leadership + Geneva Bible comments Governor could have led by authority, but • Resistance to work did better by setting an example • Romantic fantasies of paradise No shame for leaders to work: “… Behavior of nobles in the storm blatantly we wrought with labor & travaile opposite to that of Strachey’s leaders night & day…” • Prince carries logs, makes sport of it Better to lead by example: “Not but • Contrasted with Caliban that we had authority, but that we John Smith & his allies • Ariel works with good will vs. under compunction might make ourselves an example “proper gentlemen …making it their delight unto you to follow us.” to hear the trees thunder as they fell” Caliban: “I must eat my dinner” Bad to be a useless burden: “… we “gentlemen … doing but as the president” Miranda: would not be chargeable to any of • ”Invader” in ruler’s power; Labor turned to sport you.” daughter physically intercedes No work, no food: “…If there were “Labors of 30 or 40 honest and industrious • Invader plots to marry daughter any which would not work, that he men shall not be consumed to maintain and supplant ruler should not eat” 150 idle varlets” • 13-14 years old “He that will not work shall not eat” • “Nonparell” “… none ought to live idly, but ought to give himself to some vocation, to Pocahontas event details, both real and get his living by, and to do good to slanderous rumor (Smith to marry & rule) others.” “Man not born for himself alone” [Plato via St. -
“Flowers in the Desert”: Cirque Du Soleil in Las Vegas, 1993
“FLOWERS IN THE DESERT”: CIRQUE DU SOLEIL IN LAS VEGAS, 1993-2012 by ANNE MARGARET TOEWE B.S., The College of William and Mary, 1987 M.F.A., Tulane University, 1991 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre & Dance 2013 This thesis entitled: “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 written by Anne Margaret Toewe has been approved for the Department of Theatre & Dance ______________________________________________ Dr. Oliver Gerland (Committee Chair) ______________________________________________ Dr. Bud Coleman (Committee Member) Date_______________________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Toewe, Anne Margaret (Ph.D., Department of Theatre & Dance) “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 Dissertation directed by Professor Oliver Gerland This dissertation examines Cirque du Soleil from its inception as a small band of street performers to the global entertainment machine it is today. The study focuses most closely on the years 1993 – 2012 and the shows that Cirque has produced in Las Vegas. Driven by Las Vegas’s culture of spectacle, Cirque uses elaborate stage technology to support the wordless acrobatics for which it is renowned. By so doing, the company has raised the bar for spectacular entertainment in Las Vegas I explore the beginning of Cirque du Soleil in Québec and the development of its world-tours. -
Educatorsguide
Fun & Learning in the real world nquiry & An educators’ guide E In v e s t i g a t i o n In te rp Design r e t a History t i o ICT cienc n Research S e & T Geography e c h n o Solutions l o g y Investigation C lim a t e Science c h a n Application g e Maths M ! a n k fu in g g learnin The Hampshire & Wight Trust for Maritime Archaeology The Hampshire and Wight Trust for Maritime Archaeology (HMTMA) promotes interest, research and knowledge of maritime archaeology and heritage. The Trust runs a programme of research led fieldwork involving professional archaeologists, volunteers and students. The results of this work are widely disseminated through an innovative programme of education and public outreach including talks, activity days, learning initiatives, workshops, in-school sessions, learning outside the classroom sessions, exhibitions, publications and educational resources. The Heritage Lottery Fund The Heritage Lottery Fund (HLF) sustains and transforms a wide range of heritage through innovative investment in projects with a lasting impact on people and places. As the largest dedicated funder of the UK’s heritage, with around £205 million a year to invest in new projects the HLF are also a leading advocate for the value of heritage to modern life. From museums, parks and historic places to archaeology, natural environment and cultural traditions, HLF invest in every part of our heritage. The HLF has supported more than 30,000 projects allocating £4.5 billion across the UK. The Archaeological Atlas of the Two Seas Some of the material in this booklet has been collected as part of the Archaeological Atlas of the 2 Seas (A2S) project. -
Characters from Shakespeare's the Tempest Revisited: Ferdinand And
Characters from Shakespeare’s The Tempest Revisited: Ferdinand and Caliban in Aldous Huxley’s Brave New World and John Fowles’ The Collector Act 1, Scene II: Caliban, Ferdinand, Prospero and Miranda (Folger Shakespeare Library) BA Thesis English Language and Culture, Utrecht University Name: Chantal van der Zanden Student number: 552725 Supervisor: dr. Paul Franssen Second reader: prof. dr. Ton Hoenselaars April 2017 Van der Zanden 2 Table of contents Introduction 3 Chapter 1: The Tempest and Sigmund Freud 8 Chapter 2: Aldous Huxley’s Brave New World 14 Chapter 3: John Fowles’ The Collector 20 Conclusion 26 Works Cited 28 Van der Zanden 3 Introduction The Tempest belongs to William Shakespeare’s last plays and is argued to be the play in which Shakespeare says his goodbyes to theatre, via the magus Prospero who renounces his magic: Now my charms are all o’erthrown, And what strength I have’s mine own, Which is most faint. Now, ‘tis true I must be here confined by you. (Shakespeare Epilogue 1-4) The Tempest is a play prone to modernised readings and full of innovations which makes that the play has seen many dramatic recreations (Brown 13). Ever since the Restoration period, this play has been appropriated and adapted, for instance in John Dryden and William Davenant’s The Tempest or: The Enchanted Island (Vaughan Literary Invocations 155) or the opera of the same name by Thomas Shadwell in 1673 (Vaughan and Vaughan Shakespeare’s Caliban 174). Modern appropriations and adaptations of The Tempest mainly focus on the themes of postcolonialism, postpatriarchy and postmodernism (Zabus 1).