A Kidsummer Night's Dream
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FEATURE Teachers Share Personal Love Stories
23_AlbanyHS_1 ALBANY HIGH SCHOOL Genevieve Stunkard, Features Editor 5 FEATURE Kylea Gardner, Assistant Editor February 12, 2016 Teachers share personal love stories be around,” Jennie said. “Also, his family Staff speaks about went to Colorado every year, and I got to go with them after we started dating, so proposals, wedding that was always fun.” Bailey says that throughout her mar- stories riage, no problem has ever been too hard to overcome. BY GENEVIEVE STUNKARD “We promised each other from the start Features Editor that divorce would never be a part of our vocabularies,” Bailey said. However, Jennie explains that her “It was a balmy evening in South Flor- marriage has not always been “sunshine ida,” Andre Raymond said. “As a group and roses.” of juene fi lle emerged from the freshman “I guess the most diffi cult time in our dorm, Roxanne caught my eye; her fl axen marriage was when I was sick with breast hair moved softly as a gentle zephyr moved cancer,” Jennie said. “But we stuck it out. eff ortlessly through her dusky tresses. My We’re committed to each other, and when is- heart fl uttered and my knees weakened; sues arise we always work to resolve them.” her beauty had entranced me, and it was Bailey describes how her husband pro- love at fi rst sight.” posed to her. He laughs and then explains that, “My favorite fl ower was (and still is) because life isn’t a romance novel, most daisies, so on my birthday one year, I walked relationships, including his own, don’t into his apartment and there were yellow really start out this way. -
Birth and Evolution of Korean Reality Show Formats
Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the -
58 Bab Iii Analisis Cda Fairclough Korean Wave 3.1
BAB III ANALISIS CDA FAIRCLOUGH KOREAN WAVE 3.1. Kemunculan dan Perkembangan Hallyu Kemunculan Korea Selatan sebagai negara yang memproduksi budaya populer tidak langsung serta merta dalam kemunculannya. Sebagai negara yang terlibat perang dengan Korea Utara, Korea Selatan tentunya mengalami berbagai kehancuran akibat dampak perang. Peperangan yang dialami oleh Korea Selatan inilah yang membuka sedikit ruang dalam perkembangan industri hiburan Korea Selatan yang saat ini semakin mengokohkan dirinya. Sejarah mencatat Korea Selatan terlibat perang hingga melibatkan bantuan militer dari dunia Internasional. Korea Selatan mengalami masa kependudukan Jepang pada tahun 1910 -1945 dan perang Korea antara utara dan selatan yang berlangsung pada tahun 1950 – 1953. Adanya pasukan militer asing yang masuk ke Korea Selatan menyebabkan unsur-unsur asing yang memasuki Korea Selatan seperti masuknya agama baru hingga sampai jenis musik asing yang diadopsi. Sebelumnya, Korea yang masih bersifat tradisional penuh dengan pengaruh Buddha, Konfusius, dan pengaruh Tiongkok. Prajurit asing di Korea Selatan membawa masuk pengaruh jenis musik baru di Korea Selatan. Musik Korea Selatan mulai dipengaruhi oleh musik musik—American folk, lush ballads, rock, French chansons, Italian canzone; musik Latin, Cuban, dan Japanese enka1 Perjalanan Korean wave sebagai budaya populer yang menjadi komoditas global melalui perjalanan panjang. Seperti yang disinggung 1Korean Culture and Information Service. 2011. Contemporary Korea No.1; The Korean Wave: A New Pop Culture Phenomenon, hal 11 58 sebelumnya, Korea Selatan sendiri harus mengalami masa-masa kehancuran akibat perang yang dialaminya hingga masa krisis moneter International Monetary Fund (IMF) di tahun 1990-an. Namun, justru pasca krisis moneter itulah industri hiburan Korea Selatan dapat bangkit. Di awal berdirinya Korea Selatan sebagai negara, industri hiburan sama sekali tidak mendapat ruang gerak yang bebas, justru lebih dikendalikan oleh pemerintah. -
Ourhousetoyourhouse Royal Opera House Announces New Friday Premiere Stream: the Royal Ballet’S the Dream (2017)
17 March 2021 #OurHouseToYourHouse Royal Opera House announces new Friday Premiere stream: The Royal Ballet’s The Dream (2017) The Royal Opera House is delighted to continue its #OurHouseToYourHouse programme, featuring online broadcasts that can be accessed by audiences around the world for just £3. Join us on Friday 19 March at 7pm GMT as we stream The Dream (2017). Frederick Ashton’s delightful interpretation of Shakespeare’s A Midsummer Night’s Dream is a classic of The Royal Ballet’s repertory, and this production, recorded in 2017, features music from Felix Mendelssohn performed by the Orchestra of the Royal Opera House and designs from David Walker. Showcasing the extraordinary talents of dancers of The Royal Ballet, this recording stars Principal dancers Akane Takada as Titania and Steven McRae as Oberon. Also featured are First Soloist Valentino Zucchetti as Puck and Principal Character Artist Bennet Gartside as Bottom. Titles currently available to view via stream.roh.org.uk include La Fille mal gardée (The Royal Ballet, 2015), Il trittico (The Royal Opera, 2011), Raymonda Act III (The Royal Ballet, 2019), Tony and the Young Artists (The Royal Opera, 2021) and The Sleeping Beauty (The Royal Ballet, 2020). As part of our ongoing partnership with the BBC, Royal Opera House content continues to be available via BBC Sounds and BBC iPlayer. The Royal Opera’s 2018 performance of Wagner’s Ring Cycle in Keith Warner’s acclaimed production is available to listen to again in full. Presented by Tom Service, these performances feature Antonio Pappano conducting the Orchestra of the Royal Opera House and a stellar cast including soprano Nina Stemme as Brünnhilde; baritone John Lundgren as Wotan; mezzo- soprano Sarah Connolly as Fricka; and tenor Stefan Vinke as Siegfried, among others. -
Rebecca Stanton 1. the Story of Pyramus and Thisbe Chosen by The
1/27/2015 Blog Wow: View blog Rebecca Stanton A Midsummer Night's Dream, redux Oct 4, 2013 2:25 PM As we discussed in class on Thursday, while Shakespeare's play is both more light hearted and just plain "lighter" easier to digest than Spenser's deliberately MAGIC AND MODERNITY difficult, densely allegorical poem, A Midsummer Night's Dream nonetheless Official Course Blog shares certain background assumptions and even thematic concerns with The Faerie Queene. Similar vocabulary is used to talk about magic, love, dreams, visions as in The Faerie Queene, the inherent unreliability (and potential demonic origin?) of dreams and visions, and even of straightforward sensory data about the material world, is at issue. To put it another way, it's not just the "mind's eye" that is easily bamboozled our actual eyes are as well. What does Shakespeare's comedy have to say about empirical knowledge and human understanding? Where does magic play into all of this? Fairies, as we've seen in Spenser, are serious business not, as the historian Diane Purkiss suggests in the introduction to her superb At the Bottom of the Garden: A Dark History of Fairies, Hobgoblins, Nymphs, and Other Troublesome Things, merely "tiresome wingy thingies who are always good." Purkiss continues: "Actually, as we shall see, fairies are an invention that almost wholly lacks moral engagement. In stories about fairies, there are exceedingly strict rules of behaviour, but these apply not to the fairies but to human beings, and they exist for reasons of selfpreservation, -
Exiled to Freedom
Exiled to Freedom A Memoir of Censorship in Iran Mahmood Karimi-Hakak This memoir is dedicated to the struggle of Iranian youth for the right to live in a free society I would like to share my story, a story of the struggle for liberty, of the sup- pression of creativity, and finally of my exile to freedom. Unfortunately, I don’t know if I can continue because the editorial staff of TDR has not yet approved the content of what I might say. You see in my country, Iran, just about anything we say or do in the public arena must be preapproved by the censors, and no explanation will ever be given if it is not approved. In the United States of America, also, there are reasons why my story would not be published. For example, if my writing were bad or blatantly offensive, vio- lently racist, or sexist. Or, if my story did not fit the subject matter of TDR, had no relation to performance, etc. It could always be rejected as a matter of style and taste. But censorship would not be the primary factor. In Iran, cen- sorship is not only common, but also expected—in the theatre, in Parliament, and even in the Friday Prayer. There was one time I was asked to address an audience without a prepared, preapproved, edited text. That was the night of 23 February 1999, when my production of Shakespeare’s A Midsummer Night’s Dream was closed. On that night, I was ordered to explain to my audience why the production had been summarily canceled. -
A Midsummer Night's Dream
THE SHAKESPEARE THEATRE OF NEW JERSEY EDUCATION PRESENTS SHAKESPEARE LIVE! 2017 A Midsummer Night’s Dream BY WILLIAM SHAKESPEARE STUDENT-TEACHER STUDY GUIDE COMPILED AND ARRANGED BY THE EDUCATION DEPARTMENT OF THE SHAKESPEARE THEATRE OF NEW JERSEY Shakespeare LIVE!, The Shakespeare Theatre of New Jersey’s educational touring company, is part of Shakespeare in American Communities: Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest. Additional support for Shakespeare LIVE! is provided by The Investors Foundation, Johnson & Johnson, The Provident Bank Foundation, and the Turrell Fund. COVER: Mustardseed, Peasblossom and Moth from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM THIS PAGE: The Mechanicals from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM. ALL PHOTOS by Jerry Dahlia ©2015 unless noted. In This Guide: Classroom Activities for Teachers and Students ...............................p2 Shakespeare: Helpful Tips For Exploring & Seeing His Works .......p3 About the Playwright ................................................................................p4 Shakespeare’s London .............................................................................p5 Shakespeare’s Verse ..................................................................................p6 “Are you SURE this is English?” .............................................................. p7 A Midsummer Night’s Dream: An Introduction ...................................p8 Midsummer: -
Marriage and Love in the Palestinian Camps of Jordan (1948-2001)
FRAGILE INTIMACIES:MARRIAGE AND LOVE IN THE PALESTINIAN CAMPS OF JORDAN (1948–2001) ST´EPHANIE LATTE ABDALLAH This article focuses on conjugal love as an articulated, lived emotion; on relationships between spouses within the context of the family; and on how these emotions and relations have changed over time in Pales- tinian refugee camps in Jordan. Based on interviews with four gener- ations of Palestinian camp women, the article charts evolving marital patterns and attitudes toward marriage in relation to changing po- litical circumstances and diverse influences. Particular emphasis is given to the third generation and the emergence of individualiza- tion of choice and its consequences. The influence of the family and the role of protection in the formation of conjugal bonds are also addressed. ALTHOUGH FEELINGS AND EMOTIONS inform almost all social interactions, not to mention individual and group agency, they have traditionally been curiously absent from studies of marriage patterns and the history of the marital bond. Since the mid-1980s, some groundbreaking works have appeared that illu- minate the social context and patterning of emotion and sentiment—showing how they shape power relations and underpin symbolic exchanges—but these studies focus mainly on Europe and the West.1 When it comes to the Middle East, the role of emotions remains largely ignored. This article will focus on conjugal love as an articulated, lived emotion; on relationships between spouses within the context of the family; and on how these emotions and relations have changed over time in Palestinian refugee camps in Jordan. In the refugee camps, the weight of traumatic collective history and “community-becoming” has deeply affected individual stories and agencies. -
Things I Wish I'd Known Before We Got Married
Leader Guide for Things I Wish I’d Known Before We Got Married Leader Guide for Things I Wish I’d Known Before We Got Married 1 TIPS FOR LEADING A SMALL GROUP Introduction • Plan—decide when to meet, where, and how long each session will be. And for how long will your group meet? open-ended? six weeks? (It might make a difference to those who consider joining.) • Some of the chapters of Things I Wish I’d Known Before We Got Married are short, especially the first few. You might have your group be prepared to discuss two or three chapters per meeting at first and see how it goes. Be flexible. • Create a safe environment so participants will know anything personal they might share will remain in the group. • Encourage participation by asking questions: “Anyone want to add to that?” “Does anyone else have a different idea?” • Make sure participants feel listened to; use eye contact, paraphrase, echo, restate what they say. Or, “If I understand you correctly, you’re saying … ” • Try why or how questions to follow up. • Stay on track, but if the discussion goes a different way than you expected but is still on topic and helpful, let it go. However, you don’t want the discussion to get way off the subject you’ve come to discuss! • Don’t be afraid of silence while people are thinking; don’t jump in too quickly just to fill it. • If you have a dominating person who feels he or she must answer every question, try calling on someone else (carefully—not everyone is comfortable with this); or go around the circle and ask everyone for a response; or say, “Thanks, John, that’s interesting; can you hold that thought and we’ll get back to you?” • Disagreement isn’t something to avoid. -
Tara Describes Justin's Nightmares and Triggers
Tara describes Justin’s nightmares and triggers Tara: My name is Tara, and I’m married to Justin for almost four years. December 2nd of 2006, he called me and he woke me up at like 7 in the morning Minnesota time, and I could just tell instantly something was wrong and he just said, “There’s been a terrible accident and one guy didn’t make it and the other guy is not doing too well.” He was calling to let me know they’re going to be shutting the phones down and he just wanted me to know that I probably wouldn’t hear from him for a while, but it would probably start showing up on the news. I mean, I’ll never forget just where I was and how that felt. That was the first time that the unit had lost a guy, so it was a very powerful day that completely just altered things. When he was home, there were little things that made him jump. My parents live off a dirt road, so when we’d go from the pavement to the dirt road he’d tense up and he’d kind of lean forward because driving tanks in Iraq he’s very used to being alert to look for bombs and things that are out of the ordinary. So, it was like little things like that that I could tell were triggering things in him. When we got married, he woke up a lot at night and he would just like kind of grab me and hold me close because he thought something was about to happen to me, so I would have to like wake him up and calm him down and, “We’re fine. -
Domestic Hallyu: K-Pop Metatexts and the Media's Self-Reflexive Gesture
International Journal of Communication 11(2017), 2308–2331 1932–8036/20170005 Domestic Hallyu: K-Pop Metatexts and the Media’s Self-Reflexive Gesture MICHELLE CHO1 McGill University, Canada Television serves as a crucial medium for shaping the South Korean public’s response to the success of hallyu, or the Korean Wave, in news reports, variety shows, and celebrity interview programs. Further, in the last decade, several K-pop idols have been cast in serial narrative television shows that fictionalize hallyu creative industries. These metatextual shows domesticate transnational idol pop celebrities by contributing layers of televisual intimacy to their star personae and by seeming to expose the inner workings of the entertainment industries. This essay focuses on two notable examples, Dream High (2011, KBS2) and Answer Me 1997 (2012, tvN), to consider what this proliferation of popular narratives about media production and reception on South Korean television signifies. I argue that the intertextual presentation of K-pop on Korean television negotiates a complex relationship between popular culture and public culture in South Korea. The metatextual relay revealed in these shows—what I characterize as the media’s self-reflexive critical gesture—provides access to the ideological impasses of the attempt to produce intimate national publics through globalized contents. Keywords: metatextuality, television, K-drama, K-pop, hallyu, Korean Wave If the ideological function of mass culture is understood as a process whereby otherwise dangerous and protopolitical impulses are “managed” and defused, rechanneled and offered spurious objects, then some preliminary step must also be theorized in which these same impulses—the raw material upon which the process works—are initially awakened within the very text that seeks to still them. -
2012 a Midsummer Night's Dream, Student Matinee
Discovery Guide 2012 A Midsummer Night’s Dream Directed by Robert Currier Costume Design - Abra Berman Lighting Design – Ellen Brooks Properties Design - Joel Eis Set Design – Mark Robinson Sound Design – Billie Cox Discovery Guide created by Education Manager Lucas McClure www.marinshakespeare.org INTRODUCTION William Shakespeare from Stratford-Upon-Avon, England, lived from 1564 to 1616. A Midsummer Night’s Dream was probably written in the year 1595 and is considered to be Shakespeare’s finest comedy. It was first printed in 1600 in a single edition known as a “Quarto” and is also included in the 36 plays of the “First Folio” (the first printed collection of Shakespeare’s plays) printed in 1623. Shakespeare used ideas from Chaucer’s Knight’s Tale and Roman writers Ovid and Apuleius but the main plot is Shakespeare’s own invention. A Midsummer Night’s Dream is really four plays in one: 1) the marriage of Theseus, Duke of Athens to his captive Queen of the Amazons, Hippolyta; 2) the romantic entanglements of four young lovers; 3) a fight between the King and Queen of the Fairies; and 4) the rehearsing of a play called Pyramus and Thisbe by a group of tradesmen called “mechanicals” to be performed at Theseus’ wedding. Why Hawaii? Just like the ancient Greeks, the ancient Hawaiians believed in many powerful gods and goddesses who could control nature. Hawaii is a dream-like place full of dense forests where magical creatures like fairies might live. Hawaii is also a romantic destination for lovers on honeymoon where music and dance (the “hula”) fill the air.