Blackadder Goes Forth the Final Push
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Alternative Heroes in Nineteenth-Century Historical Plays
DOI 10.6094/helden.heroes.heros./2014/01/02 Dorothea Flothow 5 Unheroic and Yet Charming – Alternative Heroes in Nineteenth-Century Historical Plays It has been claimed repeatedly that unlike previ- MacDonald’s Not About Heroes (1982) show ous times, ours is a post-heroic age (Immer and the impossibility of heroism in modern warfare. van Marwyck 11). Thus, we also fi nd it diffi cult In recent years, a series of bio-dramas featuring to revere the heroes and heroines of the past. artists, amongst them Peter Shaffer’s Amadeus In deed, when examining historical television se- (1979) and Sebastian Barry’s Andersen’s En- ries, such as Blackadder, it is obvious how the glish (2010), have cut their “artist-hero” (Huber champions of English imperial history are lam- and Middeke 134) down to size by emphasizing pooned and “debunked” – in Blackadder II, Eliz- the clash between personal action and high- abeth I is depicted as “Queenie”, an ill-tempered, mind ed artistic idealism. selfi sh “spoiled child” (Latham 217); her immor- tal “Speech to the Troops at Tilbury” becomes The debunking of great historical fi gures in re- part of a drunken evening with her favourites cent drama is often interpreted as resulting par- (Epi sode 5, “Beer”). In Blackadder the Third, ticularly from a postmodern infl uence.3 Thus, as Horatio Nelson’s most famous words, “England Martin Middeke explains: “Postmodernism sets expects that every man will do his duty”, are triv- out to challenge the occidental idea of enlighten- ialized to “England knows Lady Hamilton is a ment and, especially, the cognitive and episte- virgin” (Episode 2, “Ink and Incapability”). -
We Will Rock You”
“We Will Rock You” By Queen and Ben Elton At the Hippodrome Theatre through October 20 By Princess Appau WE ARE THE CHAMPIONS When one walks into the Hippodrome Theatre to view “We Will Rock You,” the common expectation is a compilation of classic rock and roll music held together by a simple plot. This jukebox musical, however, surpasses those expectations by entwining a powerful plot with clever updating of the original 2002 musical by Queen and Ben Elton. The playwright Elton has surrounded Queen’s songs with a plot that highlights the familiar conflict of our era: youths being sycophants to technology. This comic method is not only the key to the show’s success but also the antidote to any fear that the future could become this. The futuristic storyline is connected to many of Queen’s lyrics that foreshadow the youthful infatuation with technology and the monotonous lifestyle that results. This approach is emphasized by the use of a projector displaying programmed visuals of a futuristic setting throughout the show. The opening scene transitions into the Queen song “Radio Gaga,” which further affirms this theme. The scene includes a large projection of hundreds of youth, clones to the cast performing on stage. The human cast and virtual cast are clothed alike in identical white tops and shorts or skirts; they sing and dance in sublime unison, defining the setting of the show and foreshadowing the plot. Unlike most jukebox musicals the plot is not a biographical story of the performers whose music is featured. “We Will Rock You” is set 300 years in the future on the iPlanet when individuality and creativity are shunned and conformity reigns. -
Evangelism and Capitalism: a Reparative Account and Diagnosis of Pathogeneses in the Relationship
Digital Commons @ George Fox University Faculty Publications - Portland Seminary Portland Seminary 6-2018 Evangelism and Capitalism: A Reparative Account and Diagnosis of Pathogeneses in the Relationship Jason Paul Clark George Fox University, [email protected] Follow this and additional works at: https://digitalcommons.georgefox.edu/gfes Part of the Biblical Studies Commons, and the Christianity Commons Recommended Citation Clark, Jason Paul, "Evangelism and Capitalism: A Reparative Account and Diagnosis of Pathogeneses in the Relationship" (2018). Faculty Publications - Portland Seminary. 132. https://digitalcommons.georgefox.edu/gfes/132 This Dissertation is brought to you for free and open access by the Portland Seminary at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Portland Seminary by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. EVANGELICALISM AND CAPITALISM A reparative account and diagnosis of pathogeneses in the relationship A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy by Jason Paul Clark Middlesex University Supervised at London School of Theology June 2018 Abstract Jason Paul Clark, “Evangelicalism and Capitalism: A reparative account and diagnosis of pathogeneses in the relationship.” Doctor of Philosophy, Middlesex University, 2018. No sustained examination and diagnosis of problems inherent to the relationship of Evangeli- calism with capitalism currently exists. Where assessments of the relationship have been un- dertaken, they are often built upon a lack of understanding of Evangelicalism, and an uncritical reliance both on Max Weber’s Protestant Work Ethic and on David Bebbington’s Quadrilateral of Evangelical priorities. -
The Man Who Invented Christmas Film Adaptations of Dickens’ a Christmas Carol Dr Christine Corton
10TH DECEMBER 2019 The Man Who Invented Christmas Film Adaptations of Dickens’ A Christmas Carol Dr Christine Corton A Christmas Carol is now over 175 years old. Written in 1843, it is certainly the most televised of Dickens’s works and equals if not beats, its closest rival, Oliver Twist (1837-39) for cinema releases. It’s had a huge influence on the way we understand the Christmas festival. It was written at a time when the festival was being revived after centuries of neglect. And its impact was almost immediate. A Christmas Carol quickly achieved iconic status, far more so than any of Dickens’s other Christmas stories. You have to have been living on some far-off planet not to have heard of the story – the word ‘Scrooge’ has come to represent miserliness and ‘Bah, Humbug’ is a phrase often resorted to when indicating someone is a curmudgeon. Even, Field Marshall Montgomery concluded his Christmas Eve message to the Eighth Army on the battlefield with Tiny Tim’s blessing. In 1836 Dickens described Christmas at Dingley Dell in The Pickwick Papers in which of course one of the most famous of the interpolated tales appears, The Story of the Goblins who Stole a Sexton and for those who know the tale, the miserable and mean Gabriel Grub is not a million miles away from Scrooge. Both Mr Pickwick’s Christmas at Wardle’s (1901) and Gabriel Grub: The Surly Sexton (1904) were used as the basis for silent films at around the same time as the first silent version of the 11 minute long: Scrooge: Or Marley’s Ghost which was released in 1901. -
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1 +\SHUDQGPLVXQGHUVWDQGLQJLQLQWHUDFWLRQDOKXPRU Geert Brône University of Leuven Department of Linguistics Research Unit &UHDWLYLW\+XPRUDQG,PDJHU\LQ/DQJXDJH (CHIL) E-mail address: [email protected] $ ¢¡¤£¦¥¢§©¨ £ This paper explores two related types of interactional humor. The two phenomena under scrutiny, K\SHUXQGHUVWDQGLQJ and PLVXQGHUVWDQGLQJ, categorize as responsive conversational turns as they connect to a previously made utterance. Whereas hyper-understanding revolves around a speaker’s ability to exploit potential weak spots in a previous speaker’s utterance by playfully echoing that utterance while simultaneously reversing the initially intended interpretation, misunderstanding involves a genuine misinterpretation of a previous utterance by a character in the fictional world. Both cases, however, hinge on the differentiation of viewpoints, yielding a layered discourse representation. A corpus study based on the British television series %ODFNDGGHU reveals which pivot elements can serve as a trigger for hyper- and misunderstanding. Common to all instances, it is argued, is a mechanism ofILJXUHJURXQG UHYHUVDO. Key words: interactional humor, hyper-understanding, misunderstanding, layering, mental spaces, figure-ground reversal 2 ,QWURGXFWLRQ Recent studies in pragmatics (see e.g. Attardo 2003) have shown a renewed interest in humor as a valuable topic of interdisciplinary research. More specifically, these studies have extended the traditional focus of humor research on jokes to include longer narrative texts (Attardo 2001a, Triezenberg 2004) and conversational data (Boxer and Cortés-Conde 1997, Hay 2001, Kotthoff 2003, Norrick 2003, Antonopoulou and Sifianou 2003, Archakis and Tsakona 2005). New data from conversation analysis, text linguistics and discourse psychology present significant challenges to linguistic humor theories like the General Theory of Verbal Humor (Attardo 1994, 2001a), and call for (sometimes major) revisions. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 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 com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
(23Rd - 28Th August 2017) Pavilions Teignmouth Episodes from Blackadder the Third - Dual & Duality - Sense and Senility - Ink & Incapability
August 2017 In this Edition Chairman’s Welcome Membership Reminder Blackadder III Box office summer closure Princess & the Pea Name of the Theatre Production News Who’s who CHAIRMAN’S WELCOME Our new committee members have had a very busy time since joining us and we are looking forward to more busy months ahead. We are very pleased that they volunteered and only hope that everyone on the committee is able to continue with all their good work, and we again extend our thanks to past committee members too, who also still contribute constantly to T.P. Following on from months of rehearsals with the youngest Tykes, and slightly less with the more senior Tykes and the ‘adults’ we were so pleased to present Peter Pan at the Pavilions Teignmouth in July. It was by no means an easy task and a great many ‘thank you’ messages need to be passed on. Mike and June Hewett spent many hours to design and build the set and then painting was done by Jane Branch and a ‘friend’ - I’m sorry but I cannot remember the lady’s name – to create some wonderful scenes. June also weilded her paint brush in a less artistic way but with more great results. Unfortunately some last minute adjustments were needed once the set had been transported to Pavilions as there was complications with space, but Mike laid aside his Mr Darling costume and spent many more hours with assistance from Iain Ferguson, completing it. The lighting was designed by Daniel Saint; then he had help from some members as they took down the majority of lights from the Ice Factory and re-erected them inside Pavilions. -
Bald and Bold for St. Baldrick's
Wednesday, February 26, 2014 VOLUME 33 / NUMBER 22 www.uicnews.uic.edu facebook.com/uicnews twitter.com/uicnews NEWS UIC youtube.com/uicmedia For the community of the University of Illinois at Chicago Photo: S.K. Vemmer Carly Harte and Andrea Heath check each other’s new look after their heads were shaved in a fundraiser for St. Baldrick’s Foundation Thursday. The roommates drove from Milwaukee to Children’s Hospital University of Illinois for the event, which benefits pediatric cancer research at UIC and elsewhere. More on page 3; watch the video atyoutube.com/uicmedia Bald and bold for St. Baldrick’s INSIDE: Profile / Quotable 2 | Campus News 4 | Calendar 12 | Student Voice 13 | Police 14 | Sports 16 Composer Steve Everett finds the Honoring UIC’s Researchers of Cai O’Connell’s once-in-a-lifetime Women’s basketball gets ready to right notes the Year Olympics assignment break the record More on page 2 More on page 7 More on page 11 More on page 16 2 UIC NEWS I www.uicnews.uic.edu I FEBRUARY 26, 2014 profile Send profile ideas to Gary Wisby,[email protected] Composer Steve Everett hits right notes with technology By Gary Wisby Princeton and a guest composer at Eastman School of Music, Conservatoire National Supérieur de Mu- Epilepsy. sique de Paris, Conservatoire de Musique de Genève The chemical origins of life. in Switzerland, Rotterdam Conservatory of Music A young prostitute who lived in and Utrecht School of the Arts in the Netherlands. New Orleans’ notorious Storyville His compositions have been performed in Paris, 100 years ago. -
Disabling Comedy and Anti-Discrimination Legislation
Disabling Comedy and Anti-Discrimination Legislation Colin Barnes 1991 A version of this paper entitled 'Disabling Comedy' appeared in Greater Manchester Coalition of Disabled People's Journal 'Coalition' December 1991 pp. 26 - 28 Over the last couple of years disabled people and their organizations have become increasingly concerned about disabling imagery in the media. One of the most important examples being the cynical exploitation of disabled people by charities in their efforts to raise money. Here I would like to highlight another form of disablism common to the media which disabled people are expected to endure, which is equally disabling and which is often overlooked or ignored: the exploitation of disabled people by professional non-disabled comedians on television. Of course laughing at disability is not new, disabled people have been a source of amusement and ridicule for non-disabled people throughout history. Along with the other so-called timeless universals of 'popular' humour such as foreigners, women and the clergy, Elizabethan joke books are full of jokes about people with every type of impairment imaginable. During the seventeenth and eighteenth centuries keeping 'idiots' as objects of humour was common among those who had the money to do so, and visits to Bedlam and other 'mental' institutions were a typical form of entertainment for the able but ignorant. While such thoughtless behaviour might be expected in earlier less enlightened times, making fun of disabled people is as prevalent now as it was then. It is especially common among professional non-disabled comedians. Indeed, several of the comedy 'greats' who influenced today's 'funny' men and women built their careers around disablist humour. -
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Blackadder Goes Forth Audition Pack
Blackadder Goes Forth Audition Pack Key Dates Audition Dates: • Tuesday 8 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 12 th May – 10.30am – 5.00pm • Sunday 13 th May – 10:00am – 3.00pm Recalls (if required): • Friday 18 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 19 th May – 10:00am – 1:00pm (Everyman Clubroom) Actors who are successfully cast need to understand that they MUST be available for all the following key dates • Technical Rehearsal: Sunday 11 th November (cast need to be available all day) • Dress Rehearsal: Monday 12 th November (evening) • Performance Dates: Tuesday 13 th – Saturday 17 th November; Evening Performances at 7.30pm, Saturday matinee at 2.30pm Rehearsal Nights Rehearsals will begin w/c Monday 3 rd September. Exact rehearsal nights will be confirmed nearer the time but are quite likely to be Tuesdays, Thursdays and Sundays. Not all cast will be required for every rehearsal. Plot Blackadder Goes Forth is set in 1917 on the Western Front in the trenches of World War I. Captain Edmund Blackadder is a professional soldier in the British Army who, until the outbreak of the Great War, has enjoyed a relatively danger-free existence fighting natives who were usually "two feet tall and armed with dried grass". Finding himself trapped in the trenches with another "big push" planned, his concern is to avoid being sent over the top to certain death. The show thus chronicles Blackadder's attempts to escape the trenches through various schemes, most of which fail due to bad fortune, misunderstandings and the general incompetence of his comrades. -
VPI June 2016
c/o sur la Croix 160, CH - 1020 Renens. www.villageplayers.ch Payments: CCP 10-203 65-1 IBAN: CH71 0900 0000 1002 0365 1 Village Players’ Information (VPI) June 2016 NEXT CLUBNIGHT: VILLAGE PLAYERS’ Annual General Meeting !!!! COME AND FILL THESE SEATS !!!! Thursday 16th June, 2016 At 20h00 Doors open at 19h15 Bar open 19h30 CPO - Centre Pluriculturel d’Ouchy Beau-Rivage 2, 1006 Lausanne PLEASE NOTE IN YOUR DIARIES – AND TELL YOUR FRIENDS AND FELLOW MEMBERS Come and have your say in the running of the club and our activities, and cast your vote for the new Committee. Of the present Committee, the following are willing to stand for (re)election for the following posts: Production Coordinator Daniel Gardini Events Coordinator Mary Couper Secretary Colin Gamage Treasurer Derek Betson Publicity Manager Susan Morris Membership Secretary Dorothy Brooks Technical Manager Ian Griffiths At the moment we have the proposal of Chris Hemmens for the post of Chairman but do not have candidates for the posts of Administrative Director and Business Manager. So before, or latest at, the AGM we will be looking for volunteers to come forward to fill these positions. Brief descriptions of these posts are: ADMINISTRATIVE DIRECTOR: Coordinates the running of the Society, guarantees its efficient administration, assists and deputises for the Chairman. BUSINESS MANAGER: Responsible for forward planning, negotiation for hire of theatres, rooms for productions and events; liaison with appropriate authorities for services, purchase of tickets, front of house, payment of dues and performance rights. THIS IS A VERY IMPORTANT MEETING – WE NEED YOU ALL TO COME ALONG.