The Representations of Hercules and Hydra in Shake- Speares Coriolanus
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Shakespeare Oxford Fellowship Conference
Shakespeare Oxford Fellowship Conference Oakland Marriott City Center Hotel October 11–14, 2018 Table of Contents Schedule of Events ....................................................... 2 Biographies/Titles/Abstracts .............................. 6 —In order of presentation Dark Lady Essays .......................................................23 Dark Lady Sonnets ....................................................29 Page 1 SOF Conference—Schedule of Events THURSDAY: October 11, 2018 10:00—1:00 Conference Registration 1:00—1:15 Welcome, Introductions and Orientation. 1:15—2:00 Wally Hurst: Blame It on the Bard: Why the Author ‘Shakespeare’ is Responsible for World War I and World War II. 2:00—2:45 David Rains Wallace: Shakespeare, Beowulf, and Wilderness. 2:45—3:15 Coffee/Tea Break 3:15—4:00 Theresa Lauricella: “I Took Thee for thy Better”: The Prestige of Polonius. 4:00—4:45 Robert Detobel (Read by Don Rubin): The Soul of Nero. 4:45—5:30 Steven Sabel: Not to Modernize: Why the ‘translating’ of the Bard’s texts to modern language corrupts performance of the works and further conceals the true author. 5:30—7:00 Hosted Wine and Cheese reception. FRIDAY: October 12, 2018 8:30—9:15 Julie Bianchi: Twins Separated at Birth? A Cultural and Genealogical Investigation of Two Identities Set in Stone. 9:15—9:30 John Hamill: Shakespeare Oxford Fellowship Research Grants Report 9:30—10:15 Michael Delahoyde and Coleen Moriarty: De Veres di Venezia 10:15—10:45 Coffee/Tea Break 10:45—12:30 Panel: An Oxfordian Timeline for Dating Shakespeare’s Plays: Ramon Jiménez, Katherine Chiljan, and Kevin Gilvary 12:30—1:30 Lunch (on own). 1:30—2:15 W. -
Edward M. Eyring
The Chemistry Department 1946-2000 Written by: Edward M. Eyring Assisted by: April K. Heiselt & Kelly Erickson Henry Eyring and the Birth of a Graduate Program In January 1946, Dr. A. Ray Olpin, a physicist, took command of the University of Utah. He recruited a number of senior people to his administration who also became faculty members in various academic departments. Two of these administrators were chemists: Henry Eyring, a professor at Princeton University, and Carl J. Christensen, a research scientist at Bell Laboratories. In the year 2000, the Chemistry Department attempts to hire a distinguished senior faculty member by inviting him or her to teach a short course for several weeks as a visiting professor. The distinguished visitor gets the opportunity to become acquainted with the department and some of the aspects of Utah (skiing, national parks, geodes, etc.) and the faculty discover whether the visitor is someone they can live with. The hiring of Henry Eyring did not fit this mold because he was sought first and foremost to beef up the graduate program for the entire University rather than just to be a faculty member in the Chemistry Department. Had the Chemistry Department refused to accept Henry Eyring as a full professor, he probably would have been accepted by the Metallurgy Department, where he had a courtesy faculty appointment for many years. Sometime in early 1946, President Olpin visited Princeton, NJ, and offered Henry a position as the Dean of the Graduate School at the University of Utah. Henry was in his scientific heyday having published two influential textbooks (Samuel Glasstone, Keith J. -
The Aesthetics of Railing: Troilus and Cressida and Coriolanus
The Aesthetics of Railing:Troilus and Cressida and Coriolanus Maria Teresa Micaela Prendergast The College of Wooster Cet essai explore comment Shakespeare utilise la rhétorique des insultes cruelles et for- tement métaphoriques des débuts de la modernité afin de réaliser une rivalité agressive entre le déclinant idéal aristocratique élisabéthain du sang et du langage épique d’une part, et le théâtre satirique en émergence d’autre part. Ce type de théâtre se justifie en associant le guerrier aristocratique à un corps suintant, efféminé, et malade. Cet essai se concentre en particulier sur les pièces Troilus and Cressida et Coriolanus, qui éta- blissent un fort lien entre la manifestation de maladies internes sur la peau et la perte d’autonomie masculine. Dans Troilus and Cressida, Thersites, incarnant le personnage du fou, domine la pièce avec ses discours vicieux qui transforment sur le plan rhétorique le personnage héroïque de l’aristocrate masculin en une créature abjecte. Parallèlement, Coriolan, en fort contraste avec Thersites, est un guerrier autonome, qui néanmoins sou- tient l’opinion de Thersites que le spectacle théâtral, ainsi que la fréquentation des gens du peuple dégradent les idéaux guerriers aristocratiques. Les deux pièces suggèrent que c’est à travers une langue caustique et scatologique de l’insulte, de pair avec une destruction rhétorique des idéaux de l’aristocratie guerrière, que le théâtre britannique du début du dix-septième siècle remplace une esthétique traditionnelle de l’élite faite de sang héroïque par une célébration de la puissance rhétorique des croûtes et des éruptions cutanées. ike many of his Elizabethan and Jacobean contemporaries, Shakespeare was Lcaught up in the art of railing. -
Cambridge University Press 978-1-108-49524-0 — Early Shakespeare, 1588–1594 Edited by Rory Loughnane , Andrew J
Cambridge University Press 978-1-108-49524-0 — Early Shakespeare, 1588–1594 Edited by Rory Loughnane , Andrew J. Power Index More Information Index Achelley, Thomas, 32 canon, 1–3, 5–14, 16, 21, 27, 28, 41, 43, 44–5, 47, 54, Admiral’s Men, 65, 73, 139, 179, 221, 262 60, 61, 64, 78, 87, 102, 103, 121, 135, 168, 169, Aeschylus 190, 200–1, 261, 263, 265–8, 270, 273–4, 277, Oresteia, 139 279, 286, 288 Alleyn, Edward, 65, 209, 211, 221, 232 Chamberlain’s Men, 4, 7, 18, 43, 47, 58, 60–1, 64, Anon 67, 167, 221–2, 233, 262–3, 267, 279, 286 Edmond Ironside, 108 Chapel Children, 179 The Famous Victories of Henry the Fifth, 275 Chapman, George, 5, 32, 37 King Leir and His Three Daughters, 25, 271, An Humorous Day’s Mirth, 108 273, 275 Monsieur D’Olive, 182 A Knack to Know a Knave, 271, 275 Sir Giles Goosecap, 139 Love and Fortune, 269 Chaucer, Geoffrey, 121–41, 168, 189 Palamon and Arcite, 139 Canterbury Tales, 14, 122, 139 The Second Report of Doctor John Faustus, 163 The Franklin’s Tale, 122, 139 Thomas Lord Cromwell, 108 The Shipman’s Tale, 140 The Troublesome Reigne of King John, 271, Troilus and Criseyde, 139 275 Chettle, Henry, 31, 39 The True Tragedy of Richard the Third, Green’s Groats-worth of Wit, attributed to, 5, 156–7, 271 56, 57 apprenticeship, 31, 141, 223–5, 227, 229, 231 Patient Grissil, with Thomas Dekker and Ariosto, Ludovico William Haughton, 139 Orlando Furioso, 183 Troilus and Cressida, with Thomas Dekker, Aristotle, 136, 138, 275 lost, 139 attribution, 7, 14, 16, 54, 56–7, 58, 60, 77–8, Children of the Queen’s Revels, 35, 221, -
A Noise Within Study Guide Shakespeare Supplement
A Noise Within Study Guide Shakespeare Supplement California’s Home for the Classics California’s Home for the Classics California’s Home for the Classics Table of Contents Dating Shakespeare’s Plays 3 Life in Shakespeare’s England 4 Elizabethan Theatre 8 Working in Elizabethan England 14 This Sceptered Isle 16 One Big Happy Family Tree 20 Sir John Falstaff and Tavern Culture 21 Battle of the Henries 24 Playing Nine Men’s Morris 30 FUNDING FOR A NOISE WITHIN’S EDUCATIONAL PROGRAMS IS PROVIDED IN paRT BY: The Ahmanson Foundation, Alliance for the Advancement of Arts Education, Supervisor Michael D. Antonovich, Employees Community Fund of Boeing California, The Capital Group Companies, Citigroup Foundation, Disney Worldwide Outreach, Doukas Family Foundation, Ellingsen Family Foundation, The Herb Alpert Foundation, The Green Foundation, Kiwanis Club of Glendale, Lockheed Federal Credit Union, Los Angeles County Arts Commission, B.C. McCabe Foundation, Metropolitan Associates, National Endowment for the Arts, The Kenneth T. and Eileen L. Norris Foundation, The Steinmetz Foundation, Dwight Stuart Youth Foundation, Waterman Foundation, Zeigler Family Foundation. 2 A Noise Within Study Guide Shakespeare Supplement Dating Shakespeare’s Plays Establishing an exact date for the Plays of Shakespeare. She theorized that authorship of Shakespeare’s plays is a very Shakespeare (a “stupid, ignorant, third- difficult task. It is impossible to pin down rate play actor”) could not have written the exact order, because there are no the plays attributed to him. The Victorians records giving details of the first production. were suspicious that a middle-class actor Many of the plays were performed years could ever be England’s greatest poet as before they were first published. -
Page 1 of 56 in the UNITED STATES DISTRICT COURT for THE
IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF PENNSYLVANIA CITY OF PHILADELPHIA, : GUARDIAN CIVIC LEAGUE OF : CIVIL ACTION NO. PHILADELPHIA, ASPIRA, INC. OF : PENNSYLVANIA, RESIDENTS : 2000-CV-2463 ADVISORY BOARD, NORTHEAST : HOME SCHOOL AND BOARD, and : PHILADELPHIA CITIZENS FOR : CHILDREN AND YOUTH, : : Plaintiffs; : : v. : : BERETTA U.S.A., CORP., : BROWNING, INC., BRYCO ARMS, : INC., COLT’S MANUFACTURING : CO., GLOCK, INC., HARRINGTON & : RICHARDSON, INC., : INTERNATIONAL ARMAMENT : INDUSTRIES, INC., KEL-TEC, CNC, : LORCIN ENGINEERING CO., : NAVEGAR, INC., PHOENIX/RAVEN : ARMS, SMITH & WESSON CORP., : STURM, RUGER & CO., and TAURUS : INTERNATIONAL FIREARMS, : ET AL., : : Defendants. : O P I N I O N Date: December 20, 2000 Schiller, J. Page 1 of 56 TABLE OF CONTENTS INTRODUCTION ............................................................. 3 STANDARD FOR MOTION TO DISMISS ......................................... 4 REGULATION OF FIREARMS .................................................. 5 FACTS ALLEGED IN THE COMPLAINT ......................................... 6 DISCUSSION ................................................................ 8 I. Philadelphia’s suit is barred by the Uniform Firearms Act (“UFA”) .......... 8 A. Section 6120 ................................................ 8 B. Section 6120(a.1) (“UFA Amendment”) ......................... 10 1. Plain meaning ........................................ 10 2. Impetus for statute .................................... 11 3. Legislative history ................................... -
The Winter's Tale by William Shakespeare
EDUCATION PACK The Winter’s Tale by William Shakespeare 1 Contents Page Synopsis 3 William Shakespeare 4 Assistant Directing 6 Cue Script Exercise 8 Cue Scripts 9-14 Source of the Story 15 Interview with Simon Scardifield 16 Doubling decisions 17 Propeller 18 2 Synopsis Leontes, the King of Sicilia, asks his dearest friend from childhood, Polixenes, the King of Bohemia, to extend his visit. Polixenes has not been home to his wife and young son for more than nine months but Leontes’ wife, Hermione, who is heavily pregnant, finally convinces her husband's friend to stay a bit longer. As they talk apart, Leontes thinks that he observes Hermione’s behaviour becoming too intimate with his friend, for as soon as they leave his sight he is imagining them "leaning cheek to cheek, meeting noses, kissing with inside lip." He orders one of his courtiers, Camillo, to stand as cupbearer to Polixenes and poison him as soon as he can. Camillo cannot believe that Hermione is unfaithful and informs Polixenes of the plot. He escapes with Polixenes to Bohemia. Leontes, discovering that they have fled, now believes that Camillo knew of the imagined affair and was plotting against him with Polixenes. He accuses Hermione of adultery, takes Mamillius, their son, from her and throws her in jail. He sends Cleomines and Dion to Apollo’s Oracle at Delphi, for an answer to his charges. While Hermione is in jail her daughter is born, and Paulina, her friend, takes the baby girl to Leontes in the hope that the sight of his infant daughter will soften his heart. -
Giorgio Vasari Por Ele Mesmo: a Construção Da Imagem De Si Na Obra De Um Artista E Historiador Entre a Virtude E a Inveja No Renascimento (1511 – 1574)
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA Giorgio Vasari por ele mesmo: a construção da imagem de si na obra de um artista e historiador entre a Virtude e a Inveja no Renascimento (1511 – 1574) Pedro Henrique de Moraes Alvez Dissertação de Mestrado Porto Alegre, Agosto de 2015 PEDRO HENRIQUE DE MORAES ALVEZ Giorgio Vasari por ele mesmo: a construção da imagem de si na obra de um artista e historiador entre a Virtude e a Inveja no Renascimento (1511 – 1574) Dissertação de mestrado apresentada ao programa de Pós-Graduação em História da Universidade Federal do Rio Grande do Sul, para a obtenção do título de Mestre em História. Orientador: prof. Dr. Fernando Felizardo Nicolazzi BANCA EXAMINADORA: Prof.ªDr.ª Joana Bosak de Figueiredo (UFRGS) Prof.ªDr.ª Daniela Pinheiro Machado Kern (UFRGS) Prof.ªDr.ª Mara Cristina de Matos Rodrigues (UFRGS) PORTO ALEGRE. Agosto, 2015 “Sim, aí está o nó do problema,” pensava, “nesta contrafação. Cada um quer impor aos outros o mundo que tem dentro de si, como se fosse algo externo, de modo que todos o devam ver daquele modo, sendo apenas aquilo que ele vê.” (Luigi Pirandello. Um, nenhum e cem mil) AGRADECIMENTOS: Agradeço, em primeiro lugar, às participantes da banca, de forma coletiva, por aceitarem participar dessa ocasião e pela contribuição que trarão ao resultado final dessa pesquisa. Agradeço também individualmente a cada uma delas. À Joana Bosak, que já acompanha o desenvolvimento da minha pesquisa há algum tempo, agradeço também pelos livros que me emprestou e presenteou e que foram muito úteis nesse trabalho. -
CHRISTMAS COMES but ONCE a YEAR by George Zahora
PRESENTS CHRISTMAS COMES BUT ONCE A YEAR by George Zahora Directed by Peter Garino Assistant Director: Brynne Barnard Sound Design & Original Music: George Zahora ________________________ A PROGRAM OF HOLIDAY MUSIC Featuring Hannah Mary Simpson and Camille Cote 25th Anniversary Season December 10, 13, 14, 2019 Elmhurst Public Library Niles-Maine District Library Newberry Library THE SHAKESPEARE PROJECT OF CHICAGO IS PROUD TO * Actors appearing in this performance are members of Actors' Equity ANNOUNCE the lineup for our 25th Anniversary Season. “Hamlet” by Association, the union of professional actors and stage managers. William Shakespeare, directed by J.R. Sullivan (Oct. 11-17, 2019); “Richard III” by William Shakespeare, directed by Peter Garino (Jan. 10- www.shakespeareprojectchicago.org 17, 2020); “Romeo and Juliet” by William Shakespeare, directed by P.O. Box 25126 Michelle Shupe (Feb. 21-27, 2020); “Measure for Measure” by William Chicago, Illinois 60625 Shakespeare, directed by Erin Sloan (May 15-21, 2020). For venues and 773-710-2718 show times, visit: www.shakespeareprojectchicago.org The Shakespeare Project gratefully acknowledges all of the generous contributions made by its valued patrons over the past 24 years. With heartfelt thanks, we recognize contributors to our 2019-2020 season: Ameer Ali, Catherine Alterio, Anonymous, Charles Berglund, Henry Bernstein, Bindy Bitterman, Albertine N. Burget, Alice D. Blount, Lilian F. Braden, Joan Bransfield, An Shih Cheng, Ronald & Earlier this season… Gail Denham, Linda Dienberg, A. Carla Drije, Joyce Dugan, Janet M. Erickson, Jacqueline Fitzgerald, Holly & Brian Forgue, James & Martha Fritts, Gerald Ginsburg, Charlotte Glashagel, Scott Gordon & Amy Cuthbert, Barbara Hayler, Ora M. Jones, Susan Spaford Lane, Carol Lewis, David R. -
The Tragedies: V. 2 Pdf, Epub, Ebook
THE TRAGEDIES: V. 2 PDF, EPUB, EBOOK William Shakespeare,Tony Tanner | 770 pages | 07 Oct 1993 | Everyman | 9781857151640 | English | London, United Kingdom The Tragedies: v. 2 PDF Book Many people try to keep them apart, and several lose their lives. Often there are passages or characters that have the job of lightening the mood comic relief , but the overall tone of the piece is quite serious. The scant evidence makes explaining these differences largely conjectural. The play was next published in the First Folio in Distributed Presses. Officer involved with Breonna Taylor shooting says it was 'not a race thing'. Share Flipboard Email. Theater Expert. In tragedy, the focus is on the mind and inner struggle of the protagonist. Ab Urbe Condita c. The 10 Shakespeare plays generally classified as tragedy are as follows:. University of Chicago Press. Retrieved 6 January President Kennedy's sister, Rosemary Kennedy , had part of her brain removed in in a relatively new procedure known as a prefrontal lobotomy. The inclusion of comic scenes is another difference between Aristotle and Shakespearean tragedies. That is exactly what happens in Antony and Cleopatra, so we have something very different from a Greek tragedy. Boston: Houghton Mifflin Company, , An Aristotelian Tragedy In his Poetics Aristotle outlines tragedy as follows: The protagonist is someone of high estate; a prince or a king. From the minute Bolingbroke comes into power, he destroys the faithful supporters of Richard such as Bushy, Green and the Earl of Wiltshire. Shakespearean Tragedy: Shakespearean tragedy has replaced the chorus with a comic scene. The Roman tragedies— Julius Caesar , Antony and Cleopatra and Coriolanus —are also based on historical figures , but because their source stories were foreign and ancient they are almost always classified as tragedies rather than histories. -
Writing the Shakespeare Mask: the Novelist's Choices
Writing The Shakespeare Mask: The Novelist’s Choices Newton Frohlich *Corresponding Author: [email protected] Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The authorship of the works of Shakespeare by de Vere is depicted from when he was five to the time of his the glover from Stratford -on-Avon has been considered a tragic death, including his "favored," sexual relationship myth almost from its inception. No less than Charles Dickins, with the queen and his intimate relationship with Emilia Mark Twain, Henry and William James, Ralph Waldo Bassano, who is widely accepted as the "Dark Lady" of Emerson, Herman Melville, Walt Whitman, Royal Shake-speare's Sonnets. (There is no evidence of any Shakespeare Company actors John Gielgud, Derek Jacobi, relationship between the Stratford man and Emilia Bassano.) Jeremy Irons, and Michael York, British Prime Minister In short, while the documentary evidence of de Vere's -- or Benjamin Disraeli, five United States Supreme Court the Stratford man's -- authorship of the works of Shakespeare Justices, and thousands who signed a Declaration of Doubt is missing, the circumstantial evidence of de Vere's About Will circulating the World-Wide Web have attested to authorship is overwhelming. And as United States Supreme their doubts. In response to the request by his publisher, Court Justice John Paul Stevens puts it, "circumstantial author Newton Frohlich, commencing research connected evidence can be as persuasive as documentary evidence with a sequel to his novel about Columbus, came across especially where, as here, there's so much of it. -
Denis Diderot's Anglophilia and Its Impact Upon His Salons William Judson Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 Denis Diderot's Anglophilia and its Impact upon his Salons William Judson Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Judson, William, "Denis Diderot's Anglophilia and its Impact upon his Salons" (2017). LSU Master's Theses. 4399. https://digitalcommons.lsu.edu/gradschool_theses/4399 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. DENIS DIDEROT’S ANGLOPHILIA AND ITS IMPACT UPON HIS SALONS A Thesis Submitted to the Graduate Faculty of Louisiana State University and the School of Art in partial fulfillment of the requirements for the degree of Master of Arts in Art History in The School of Art by William E. Judson III B.A., Louisiana State University, 2013 May 2017 ACKNOWLEDGMENTS AND DEDICATION I wish to thank my committee – Doctors Elena FitzPatrick Sifford, Suzanne Marchand, and Darius Spieth – scholars all. My gratitude also goes out to the scholars cited herein whose commitment to their work has made my own possible. Professor Spieth, my advisor, has worked tirelessly to earn himself an enviable professional legacy, but I hope he is equally proud of another legacy: the knowledge he has imparted upon the thousands of students fortunate enough to have taken his classes at LSU, myself included.