OTHELLO by William Are, M Shakespeare Ew Y B Lo , R D O
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Teacher (Last Name) Title and Author of Book Brief Summary Secura the Hate You Give--Angie Thomas “Sixteen-Year-Old Star
Teacher Title and author Brief summary (Last of book Name) Secura The Hate You “Sixteen-year-old Starr Carter moves between two worlds: Give--Angie the poor neighborhood where she lives and the fancy Thomas suburban prep school she attends. The uneasy balance between these worlds is shattered when Starr witnesses the fatal shooting of her childhood best friend Khalil at the hands of a police officer. Khalil was unarmed.What everyone wants to know is: what really went down that night? And the only person alive who can answer that is Starr.” This book addresses controversial issues of interest to many adolescents and includes scenes and language that reflect mature content. Imbarus Out of the Dr. Aura Imbarus vividly details Christmas Day 1989, Transylvania when she, her parents and hundreds of shoppers drew Night--Aura sudden sniper fire as Romania descended into the Imbarus violence of a revolution that challenged one of the most draconian regimes in the Soviet bloc. Aura recalls a grisly execution that rocked the world and led to five harrowing days of bloody chaos as she and her family struggled to survive. The next day, Communist-controlled television released photos showing that dictator Nicolae Ceausescu and his wife had been assassinated-though many Romanians, the author included, believed the executions had been staged since Ceausescu was known for using stand-ins to pose for him. Nevertheless, Aura tries to convince herself that life post-revolution will be different, but little changes. On May 7, 1997, with two pieces of luggage and a powerful dream, Aura and her new husband flee to America. -
FAHRENHEIT 451 by Ray Bradbury This One, with Gratitude, Is for DON CONGDON
FAHRENHEIT 451 by Ray Bradbury This one, with gratitude, is for DON CONGDON. FAHRENHEIT 451: The temperature at which book-paper catches fire and burns PART I: THE HEARTH AND THE SALAMANDER IT WAS A PLEASURE TO BURN. IT was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon- winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning. Montag grinned the fierce grin of all men singed and driven back by flame. He knew that when he returned to the firehouse, he might wink at himself, a minstrel man, Does% burntcorked, in the mirror. Later, going to sleep, he would feel the fiery smile still gripped by his Montag% face muscles, in the dark. -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Promethean Rebellion in Ray Bradbury's Fahrenheit
Vol. 4 (2012) | pp. 1-20 http://dx.doi.org/10.5209/rev_AMAL.2012.v4.40586 PROMETHEAN REBELLION IN RAY BRADBURY’S FAHRENHEIT 451: THE PROTAGONIST’S QUEST FERNANDA LUÍSA FENEJA ISLA CAMPUS LISBOA – LAUREATE INTERNATIONAL UNIVERSITIES ULICES/CEAUL (UNIVERSITY OF LISBON CENTRE FOR ENGLISH STUDIES) [email protected] Article received on 01.02.2012 Accepted on 14.08.2012 ABSTRACT This article aims to reflect on the role of myth in science fiction narrative, namely on the specific forms it may take in utopian/dystopian fiction, such as Fahrenheit 451 (1953) by Ray Bradbury. The personal development of the main character, Guy Montag, constitutes the focus of this analysis, by which we aim to shed some light on the relation between the meaning of the novel and the Promethean features he evinces in the context of a dystopian novel. The symbolic power of fire and of books is also of core relevance to this study, not only because they highlight the hero’s inheritance of the Promethean myth, but also because they provide a deeper insight into the exegetic possibilities of dystopian fiction. KEYWORDS Ray Bradbury, Fahrenheit 451, Prometheus myth, rebellion, dystopia, science fiction, protagonist. 1. INTRODUCTION Social criticism has been closely associated with science fiction narrative, inasmuch as the alternative worlds depicted often draw on critical aspects of contemporary society or history, in order to metaphorically highlight its frailties. Resorting to sophisticated technological apparatus, most science fiction texts manage thereby to attain a symbolic level of significance that is somehow reinforced by the apparent gap between the real, recognizable world disclosed in the texts, and the narrative settings and chronotopes framing them. -
Portsmouth Christian Academy at Dover Upper School Recommended Summer Reading June 2013
Portsmouth Christian Academy at Dover Upper School Recommended Summer Reading June 2013 Portsmouth Christian Academy’s Upper School library recommends the following books for your summer reading enjoyment and to keep your reading skills sharp for the coming year! You’ll find various genres represented here: current popular titles and classic works, fiction and nonfiction, Christian and secular titles: in other words, something for every reading interest, so enjoy! Note: Different books are appropriate for and appeal to different ages, reading levels, personalities, interests, beliefs and lifestyles. As always, please use both your own discretion and your parents’ guidance in choosing what to read. NOTE: In this year’s reading list, articles on dystopian fiction and on the author Ray Bradbury are followed by the general reading list. Dystopian Fiction: I want a book like The Hunger Games! Suggestions: Card, Orson Scott. Ender’s Game and Ender in Exile. Cashore, Kristen. Graceling and Bitterblue. Condie, Ally. Matched, Crossed, Reached. Dashner, James. The Maze Runner, The Scorch Trials, Death Cure, The Kill Order. Lowry, Lois. The Giver, Gathering Blue, Messenger, Son. Lu, Marie. Legend, Prodigy. Roth, Veronica. Divergent, Insurgent. 1 Suzanne Collins’ runaway bestseller trilogy The Hunger Games was a product of the author’s love for military history and also her fascination with the gladiators of ancient Rome. The admittedly horrifying idea of children being forced to fight to the death, or otherwise manipulated in a dystopian society, finds echoes in other books published before and since, such as Ender’s Game and Ender in Exile by Orson Scott Card. -
Zen in the Art of Writing – Ray Bradbury
A NOTE ABOUT THE AUTHOR Ray Bradbury has published some twenty-seven books—novels, stories, plays, essays, and poems—since his first story appeared when he was twenty years old. He began writing for the movies in 1952—with the script for his own Beast from 20,000 Fathoms. The next year he wrote the screenplays for It Came from Outer Space and Moby Dick. And in 1961 he wrote Orson Welles's narration for King of Kings. Films have been made of his "The Picasso Summer," The Illustrated Man, Fahrenheit 451, The Mar- tian Chronicles, and Something Wicked This Way Comes, and the short animated film Icarus Montgolfier Wright, based on his story of the history of flight, was nominated for an Academy Award. Since 1985 he has adapted his stories for "The Ray Bradbury Theater" on USA Cable television. ZEN IN THE ART OF WRITING RAY BRADBURY JOSHUA ODELL EDITIONS SANTA BARBARA 1996 Copyright © 1994 Ray Bradbury Enterprises. All rights reserved under International and Pan-American Copyright Conventions. Owing to limitations of space, acknowledgments to reprint may be found on page 165. Published by Joshua Odell Editions Post Office Box 2158, Santa Barbara, CA 93120 Library of Congress Cataloging-in-Publication Data Bradbury, Ray, 1920— Zen in the art of writing. 1. Bradbury, Ray, 1920- —Authorship. 2. Creative ability.3. Authorship. 4. Zen Buddhism. I. Title. PS3503. 167478 1989 808'.os 89-25381 ISBN 1-877741-09-4 Printed in the United States of America. Designed by The Sarabande Press TO MY FINEST TEACHER, JENNET JOHNSON, WITH LOVE CONTENTS PREFACE xi THE JOY OF WRITING 3 RUN FAST, STAND STILL, OR, THE THING AT THE TOP OF THE STAIRS, OR, NEW GHOSTS FROM OLD MINDS 13 HOW TO KEEP AND FEED A MUSE 31 DRUNK, AND IN CHARGE OF A BICYCLE 49 INVESTING DIMES: FAHRENHEIT 451 69 JUST THIS SIDE OF BYZANTIUM: DANDELION WINE 79 THE LONG ROAD TO MARS 91 ON THE SHOULDERS OF GIANTS 99 THE SECRET MIND 111 SHOOTING HAIKU IN A BARREL 125 ZEN IN THE ART OF WRITING 139 . -
Love-Triangles and the Structure of Fahrenheit 451: Creating Contrast
Love-Triangles and the Structure of Fahrenheit 451: Creating Contrast to Foreground the Elements of Dystopia Iida-Tuulia Ristimella 682285A Bachelor’s Seminar and Thesis English Philology Faculty of Humanities University of Oulu Spring 2017 Abstract Ray Bradbury’s Fahrenheit 451 (1953) is one of the best-known science fiction dystopias, presenting a strictly controlled state maintained by book-burning ‘firemen’. People of the society have been turned into non-thinking masses, as books are banned, and technology and media are used to control their thought. The protagonist, Guy Montag, is a fireman, who goes through a transformation leading him to question the society and internalize humane values. In this thesis, I will examine the relationships between Montag and two female characters contributing to his transformation, namely Clarisse and Montag’s wife, Mildred, and compare these relationships and the two female characters. Love-triangle construction between the three characters is used to demonstrate the contrast between Clarisse and Mildred and their relationships to Montag, revealing the contrasts of life and death, meaningful and shallow relationship, and nature and technology. These contrasts foreground common dystopian elements in Fahrenheit 451: the fears of deindividualization and dehumanization, as well as critique towards consumer culture. Thus, Mildred and Clarisse are not only affecting Montag’s transformation, but have a function of representing the dystopian society of the novel. Table of Contents 1. Introduction – Fahrenheit 451 in Context ................................................................................... 1 2. Contrast between Clarisse and Mildred – Representations of Life and Death ....................... 4 2.1 Clarisse McClellan – Young, Active and Close to Nature .......................................................................... 4 2.2 Mildred – Like a Dead body, Passive and Unfitted for Nature .................................................................. -
1 Shakespeare and Film
Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon. -
No Fear Shakespeare – Othello (By Sparknotes, Transcription by Alex Woelffer) -1
No Fear Shakespeare – Othello (by SparkNotes, transcription by Alex Woelffer) -1- Original Text Modern Text Act 1, Scene 1 Enter RODMERIGO and IAGO RODERIGO and IAGO enter. RODERIGO RODERIGO Tush! Never tell me. I take it much unkindly Come on, don’t tell me that. I don’t like it that you That thou, Iago, who hast had my purse knew about this, Iago. All this time I’ve thought As if the strings were thine, shouldst know of this. you were such a good friend that I’ve let you spend my money as if it was yours. IAGO IAGO 'Sblood, but you’ll not hear me! If ever I did dream of Damn it, you’re not listening to me! I never such a matter, abhor me. dreamed this was happening—if you find out I did, you can go ahead and hate me. RODERIGO RODERIGO Thou told’st me You told me you hated him. Thou didst hold him in thy hate. IAGO IAGO Despise me I do hate him, I swear. Three of Venice’s most If I do not. Three great ones of the city important noblemen took their hats off to him and 10 (In personal suit to make me his lieutenant) asked him humbly to make me his lieutenant, the Off-capped to him, and by the faith of man second in command. And I know my own worth I know my price, I am worth no worse a place. well enough to know I deserve that position. But But he (as loving his own pride and purposes) he wants to have things his own way, so he Evades them with a bombast circumstance sidesteps the issue with a lot of military talk and 15 Horribly stuffed with epithets of war, refuses their request. -
Shakespeare's Othello Beyond the Boundaries of the Page
http://dx.doi.org/10.5007/2175-7917.2015v20n2p11 SHAKESPEARE’S OTHELLO BEYOND THE BOUNDARIES OF THE PAGE: AN ANALYSIS OF TWO FILMIC PRODUCTIONS Camila Paula Camilotti* Universidade Federal de Santa Catarina Abstract: This article aims at observing and analyzing two filmic productions ofWilliam Shakespeare’s Othello. The first, entitled Othello, was directed, produced and starred by Orson Welles in 1952 andthe second, also entitled Othello, was directed by Oliver Parker in 1995. My main interest in studying these two filmic productions is to observe – based on the notions of theatrical adaptation by Jay Halio (2000), Patrice Pavis (1992), and Allan Dessen (2002) – how each director constructed the seduction moment that happens in Scene III, Act III of Shakespeare’s playtext in their filmic productions. The analysis proves that two different conceptions, separated in time and space, are capable of making Shakespeare’s timelessness transcend and make the modern spectators aware of the fact that the human artistic capacity is able to cross unimaginable limits of creativity and transform a great literary work of art in a great (filmic or theatrical) spectacle. Keywords: Shakespeare’s Othello. Welles’ Othello. Parker’s Othello. Conception. I have’t. It is engendered. Hell and night Must bring this monstrous birth to the world’s light. (II.I 403-404) Whenever a text (in this case, a Shakespearian playtext) crosses the boundaries of the page to live in a theatrical or cinematic medium, with all its visual (and sonorous) elements,it has inevitably to go through several alterations in order to be seen and heard by an audience, in a certain time and space. -
Ray Bradbury Papers
http://oac.cdlib.org/findaid/ark:/13030/c8mw2pqh Online items available Willis E. McNelly Science Fiction Collection: Ray Bradbury papers Finding aid created by University Archives and Special Collections staff using RecordEXPRESS California State University, Fullerton. University Archives and Special Collections 800 N. State College Blvd. Pollak Library South, Room 352 Fullerton, California 92834-4150 (657) 278-4751 [email protected] http://www.library.fullerton.edu/ 2021 Willis E. McNelly Science Fiction SC-06-RB 1 Collection: Ray Bradbury papers Descriptive Summary Title: Willis E. McNelly Science Fiction Collection: Ray Bradbury papers Dates: 1946 - 1981 Collection Number: SC-06-RB Creator/Collector: Extent: 6 boxes Online items available http://archives.fullerton.edu/repositories/5/resources/60 Repository: California State University, Fullerton. University Archives and Special Collections Fullerton, California 92834-4150 Abstract: The Ray Bradbury papers contains original manuscripts of The Fireman, Fahrenheit 451, short stories, and first editions donated and signed by Ray Bradbury. Autgraphed play program of CSUF Theater Dept. production of the Dandelion Wine musical, 1971. Language of Material: English Access The collection is open for research. Preferred Citation Willis E. McNelly Science Fiction Collection: Ray Bradbury papers. California State University, Fullerton. University Archives and Special Collections Biography/Administrative History Ray Bradbury, in full Ray Douglas Bradbury, (born August 22, 1920, Waukegan, Illinois, U.S.—died June 5, 2012, Los Angeles, California), American author best known for his highly imaginative short stories and novels that blend a poetic style, nostalgia for childhood, social criticism, and an awareness of the hazards of runaway technology. Bradbury’s next novel, Fahrenheit 451 (1953), is regarded as his greatest work.