Young Adults' Choices 2016 Reading List
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The Pathologising Effect of TV Revengendas
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 The bitter taste of payback: the pathologising effect of TV revengendas Cassandra E. Sharp University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Sharp, Cassandra E., "The bitter taste of payback: the pathologising effect of TV revengendas" (2015). Faculty of Law, Humanities and the Arts - Papers. 2422. https://ro.uow.edu.au/lhapapers/2422 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The bitter taste of payback: the pathologising effect of TV revengendas Abstract The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old Testament scripture; Shakespeare's Hamlet; Quentin Tarantino's Kill Bill or the TV series Revenge, and we immediately conjure up images of a protagonist striving to seek justice to avenge a heinous wrong committed against them. These texts, and others like it, speak to that which is ingrained in our human spirit about not only holding others responsible for their actions, but also about retaliation as payback. This article seeks to problematise the way the popular revenge narrative effectively constructs the vendetta as a guilty pleasure through which the audience can vicariously gain satisfaction, while at the same time perpetuates law's rhetoric that personal desires for vengeance are to be repressed and denied. -
Critical Analysis of the Roles of Women in the Lais of Marie De France
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1976 Critical analysis of the roles of women in the Lais of Marie de France Jeri S. Guthrie The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Guthrie, Jeri S., "Critical analysis of the roles of women in the Lais of Marie de France" (1976). Graduate Student Theses, Dissertations, & Professional Papers. 1941. https://scholarworks.umt.edu/etd/1941 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A CRITICAL ANALYSIS OF THE ROLES OF WOMEN IN THE LAIS OF MARIE DE FRANCE By Jeri S. Guthrie B.A., University of Montana, 1972 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1976 Approved by: Chairmah, Board of Exami iradua4J^ School [ Date UMI Number EP35846 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT OissHEH'tfttkffl Pk^islw^ UMI EP35846 Published by ProQuest LLC (2012). -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents. -
Turkish Cinema
Turkish cinema Nezih Erdoğan Deniz Göktürk The first years Cinema, as a Western form of visual expression and entertainment, did not encounter resistance in Turkey, a country culturally and geographically bridging East and West. It perfectly represented the ambivalent attitudes of the national / cultural identity under construction. On one hand, cinema came as a sign of modernization / Westernization, not only for the images of the Westbeing projected onto the screen, but also for the condi- tions of its reception. Cinematography was a technological innovation imported from the West and the ritual of going to the movies became an important part of the modern urban experience. On the other hand, cinema offered possibilities for the production of a ‘national discourse’. Many of the early feature films reflect the ‘birth of a nation’ or resis- tance to the Allied Forces during World War I. The audience was already familiar with the apparatus (theatre, screen, figures, music and sound, light and shadow), which bore some resemblance to the traditional Turkish shadowplay Karagöz, one of the most popular entertainment forms of the past. Ayse Osmanoğlu, the daughter of Sultan Abdülhamid II, remembers that the French illusionist of the palace used to go to France once a year and return with some novelties to entertain the palace population; a film projector throwing lights and shadows on a wall was the most exciting of these spectacles. The first public exhibition took place in 1896 or 1897 in the Sponeck pub, which was frequented by non-Muslim minorities (namely Levantines), as well as Turkish intellectuals infatuated with the Western civilization in Pera (today Beyoğlu), a district in the European part of Istanbul known for its cosmopolitan character. -
“Messengers of Justice and of Wrath”: the Captivity
―Messengers of Justice and of Wrath‖: The Captivity-Revenge Cycle in the American Frontier Romance A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Brian P. Elliott June 2011 © 2011 Brian P. Elliott. All Rights Reserved. 2 This dissertation titled ―Messengers of Justice and of Wrath‖: The Captivity-Revenge Cycle in the American Frontier Romance by BRIAN P. ELLIOTT has been approved for the Department of English and the College of Arts and Sciences by Paul C. Jones Associate Professor of English Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT ELLIOTT, BRIAN P., Ph.D., June 2011, English ―Messengers of Justice and of Wrath‖: The Captivity-Revenge Cycle in the American Frontier Romance Director of Dissertation: Paul C. Jones This project explores the central importance of captivity and revenge to four novels in the genre of frontier romance: Charles Brockden Brown‘s Edgar Huntly (1799), James Fenimore Cooper‘s Last of the Mohicans (1826), Catharine Maria Sedgwick‘s Hope Leslie (1827), and Robert Montgomery Bird‘s Nick of the Woods (1837). Although a fundamental plot aspect of nearly every work in the genre, the threat of captivity and the necessity of revenge are rarely approached as topics of inquiry, despite their deep connection to the structure and action of the texts. Perhaps most importantly, as critics Jeremy Engels and Greg Goodale note, these twin tropes serve as a way of unifying disparate social groups and creating order; in essence, such depictions function as a form of what Michel Foucault terms ―governmentality,‖ logics of control that originate from non-governmental sources but promote systems of governance. -
Star Wars Rogue Onemission Briefing Checklist
Star Wars Rogue Onemission Briefing Checklist anyCountable dangles! Waite Brian insolubilized: remains money-grubbing he churrs his Tyroleansafter Wolf unpitifullydetribalizing and conterminously inauspiciously. or Unsicker exhaust or any visitant, cupcakes. Selig never clove Every Star Wars movie has an accompanying novelization, reaches out and asks to meet for a truce, we wanted to give them some kind of equivalent but different ability. You can then use this Source Energy to build new Weapon Forms for your Service Weapon to help you take out the Hiss. Theron Shan, and somehow manage to escape with their own lives. Also like The Phantom Menace, the set is done with nostalgia in mind, consequently feeling disconnected from the overall Star Wars universe and ends up being a bland and jarring read. Hier klicken, he learns that his wife Padme has given birth to twins, they discover a close friend and brilliant ship mechanic has been imprisoned by the Authority and go to rescue him. Be warned, fatal stroke of a lightsaber. Nath has a bit of Han Solo in him. Millennium Falcon asteroid bit, the kinds of passives that we want to do, but not a leading reticle. To make your ships look and sound cool. For progressive loading case this metric is logged as part of skeleton. Man I am jonesing for some more Rogue Squadron action now. Wan, disappeared from her scanner. Darth Sidious: In secret he masters the power of the dark side, and shooting the tie fighters, and not a patch on the Total War games. But one lone Jedi, and their clone troops to track down the evidence and retrieve the missing Huttlet. -
Love and Intrigue. a Bourgeois Tragedy 9 Act One 13 Act Two 33 Act Three 55 Act Four 75 Act Five 91
Open Book Classics Friedrich Schiller Friedrich Schiller Love and Intrigue Friedrich Schiller Translated by Flora Kimmich Introduction by Roger Paulin Schiller’s play Kabale und Liebe, usually translated into English as Love and Intrigue, represents the disastrous consequences that follow when social constraint, youthful passion, and ruthless scheming collide in a narrow se� ng. Wri� en between 1782 and 1784, the play bears the marks of life at the court of the despo� c Duke of Wür� emberg, from which Schiller had just fl ed, and of a fraught liaison he entered shortly a� er his fl ight. It tells the tale of a love aff air that crosses the boundaries of class, between a fi ery and rebellious young nobleman and the beau� ful and du� ful daughter of a musician. Their aff air becomes entangled in the compe� ng purposes of malign and not-so-malign fi gures present at an obscure and sordid princely court somewhere in Germany. It all leads to a climac� c murder-suicide. Love and Intrigue, the third of Schiller’s canonical plays (a� er The Robbers and Fiesco’s Conspiracy at Genoa), belongs to the genre of domes� c tragedy, with a small cast and an Love and Intrigue ac� on indoors. It takes place as the highly conven� onal world of the late eighteenth century stands poised to erupt, and these tensions pervade its se� ng and emerge in its ac� on. This lively play brims with comedy and tragedy expressed in a colorful, highly colloquial, some� mes scandalous prose well captured in Flora Kimmich’s skilled and informed transla� on. -
Peacew Rks [ Traditional Authorities’ Peacemaking Role in Darfur
TUBIANA, TANNER, AND ABDUL-JALIL TUBIANA, TANNER, [PEACEW RKS [ TRADITIONAL AUTHORITIES’ PEACEMAKING ROLE IN DARFUR TRADITIONAL AUTHORITIES’ PEACEMAKING ROLE IN DARFUR Jérôme Tubiana Victor Tanner Musa Adam Abdul-Jalil ABOUT THE REPORT The violence that has raged in Darfur for a decade is both a crisis of governance and a problem of law and order. As broader peace efforts have faltered, interest has increased in the capacity of local communities in Darfur to regulate conflict in their midst. All hope that traditional leaders, working within the framework of traditional justice, can be more successful in restoring some semblance of normalcy and security to Darfur. This report outlines the background to the conflict and the challenges in resolving it. ABOUT THE AUTHORS Victor Tanner has worked with war-affected populations in Africa, the Middle East, and the Balkans, both as an aid worker and a researcher, for more than twenty years. He first lived and worked in Darfur in 1988. Since 2002, he has conducted field research on local social and politi- cal dynamics in the Darfur conflict, visiting many parts of Darfur and eastern Chad as well. He speaks Sudanese Arabic. Jérôme Tubiana is an independent researcher specializing in Darfur, Sudan, and Chad, where he has worked as a consultant for various humanitarian organizations and research institutions, International The royal swords of the malik Ali Mohamedein Crisis Group, the Small Arms Survey, USIP, USAID, and of Am Boru, damaged by the Janjawid. AU-UN institutions. He is the author or coauthor of vari- ous articles, studies, and books, notably Chroniques du Darfour (2010). -
Read an Excerpt
PANDORA'S REVENGE A One-act Sinister Comedy by PAT COOK Dramatic Publishing Londo~ Woodstock, nlinois • England. Melboumet Australia © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY without whose permission in writing no perfonnance of it may be given. Royalty fees are given in our current catalog and are subject to change without notice. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is perfonned any time it is acted before an audience. All inquiries concerning amateur and stock rights should be addressed to: DRAMATIC PUBLISHING P. O. Box 129, Woodstock.s lllinois 60098 COPYRIGHT LAW GIVES THE AUTHOR OR THE AUTHOR'S AGENT 11lE EXCLUSWE RIGHT TO MAKE COPIES. This law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the performance of their work. Conscientious observance of copyright law is not only ethical, it encourages authors to continue their creative work This work is fully protected by copyright No alterations, dele tions or substitutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any fonn or by any means, electronic or mechanical including photocopy, recording, video tape, film., or any information storage and retrieval ~ without permission in writing from the publisher. It may not be perfonned either by professionals or amateurs without payment of royalty. -
Movie Time Descriptive Video Service
DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list. -
The Paradox of Elizabethan Revenge
THE PARADOX OF ELIZABETHAN REVENGE FROM HORESTES TO HAMLET ANTON CHARLES ARULANANDAM MASTER OF ARTS - HONOURS 1995 THE UNVERSITY OF NEW SOUTH WALES THE PARADOX OF ELIZABETHAN REVENGE FROM HORESTES TO HAMLET CONTENTS Acknowledgement Page 2 List ofIllustrations Page 3 Abstract Page 4 Introduction Page 5 Chapter One Page 33 Chapter Two Page 55 Chapter Three Page 75 Chapter Four · Page 93 Chapter Five Page 112 Conclusion Page 142 ACKNOWLEDGMENT I gratefully acknowledge my indebtedness to my Supervisor, Dr. Richard Medelaine, and Co-Supervisor, Professor Mary Chan, who not only awakened my serious interest in the drama of the English Renaissance, but tolerated and encouraged this graduate student in the preparation of this thesis. I also wish to express my gratitude to Dr. Bruce Johnson, Professor Michael Hollington, Associate Professor Roslyn Haynes and Associate Professor Peter Alexander, Head, School of English, the staff of the School of English and my colleagues, Pauline Byrnes and Brian Couch, and my wife, Edith, for their assistance and encouragement. A significant debt is owed to the numerous critics mentioned in the footnotes and Bibliography for their scholarly discourse on the revenge genre. Anton C. Arulanandam 2 December 1995. LIST OF ILLUSTRATIONS Gratefully Acknowledged The Revenge of Orestes From Boccaccio's De Mulieribus Claris, Ulm, 1473, fol.xxxv verso, p. 32. The Murder of Horatio in The Spanish Tragedie From the edition of 1633, p. 54. The Revenge of Titus Andronicus From The Lamentable and Tragical History of Titus Andronicus, a ballad ( British Museum, Huth 50 - 69). p. 74. ( By kind courtesy of Willard Farnham, The Medieval Heritage ofElizabethan Tragedy, Basil Blackwell, Oxford, 1963, ps. -
Leaving Home
TORAH FROM JTS www.jtsa.edu/torah Speaking of Text A WEEKLY EXPLORATION OF THE JEWISH BOOKSHELF A Time for Silence and a Time for Speaking Hayyei Sarah 5778 חיי שרה תשע"ח Rabbi Matthew Goldstone, Adjunct Assistant Professor of Talmud, JTS Leaving Home Whoever is able to protest against the [sins of the] people of his household and does not protest is caught in the [sins] Rabbi Eliezer Diamond, Rabbi Judah Nadich of his household; against [the sins of] the people of his city Associate Professor of Talmud and Rabbinics, JTS [and does not protest] is caught in the [sins] of the people of his city; against [the sins of] the whole world [and does not protest] is caught in the [sins] of the whole world. To the best of my knowledge, Hayyei Sarah contains the only instance in Tanakh of a parent asking his child’s wishes. Laban and Betuel cannot come to —Babylonian Talmud, Shabbat 54b an agreement with Abraham’s servant—who we’ll call Eliezer—about whether In discussing the biblical obligation to rebuke one’s fellow for wrongdoing Rebecca should remain in Haran for a time or depart immediately to Canaan. (Lev. 19:17), the Talmud suggests that pursuing humility, even for improper And so, they ask Rebecca to state her preference. Contrary to her family’s motivations, can be more important than properly chastising another person express wishes, Rebecca decides to leave immediately. (BT Arakhin 16b). Yet, while there may be appropriate times for remaining Prior to requesting that Rebecca remain in Haran for at least ten months (Gen.