DOCSLIB.ORG

The Union and Journal: Vol. 20, No. 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Union and Journal: Vol. 20, No. 1 PUBLIC LIBERTIES. BE AND VALJANT FOR THE TRUE, AND FAITHFUL, » —— a JAN. 1864. VOLUME XX, NUMBER t. jOH> E. BUTLER, Editor and Proprietor. BIDDEFORD, ME., FRIDAY MORNING, 1, "Who know* but be has tome reeerre fund, wm mora than he could tear calmly. Through ■Me. Mr. Waring goea on writing, flnlahee his "Bat I cannot leave my father, Mr. Waring and then toaohM and U better off then yon think? or, it may be, hi* cool mm of manner, vehement paaaion document. the spring of the bell. when, when—" & With iomi> to tbe " THE UNION JOURNAL, Mies Bey lie if an helms her^If. This looks tenderness proclaimed their away. "Here," oltrk, "file this with No. 30. Vou blessed child, you never shall! I do SO. to an he took 0, Jarnee, did mom one ate vour Bon.'* Is published every ¥riday morning, at |I It like it,"suggested, heedkaly, that "clumsy thing that wMakin imprecation, 70a wy wanted to not think / could leave father, in advance ; If till the of tbe me!" «nd in • low paid strictly |i.00 delayed IMg. Iftollaiteoits. Keyes" to young Sevne, the very Scyne her to his breMt. Again it ia the drat of January, of the did * Sir." aspiration year. Paris firm to wbom lawyer Waring this morn- "Child ! child !" be exclaimed, "they "Yea, lady. wide room, where the Are burua und- blasea up "Show her I will ate a tbhmh or AOTiBTisma. TUB OLD YEAR AMD THE NEW. A SPLENDID 8TOBY. ing communicated tbe eiii tiding* of the Baylie not dare to inault you with negleot—with cold- in, her now;" and the great chiranev, Rosamond Baylie lita Renshaw yawna rather over On* (jure, three insertions or 1ms, |l,00 bankruptcy. nea« !" Waring wearily bride—the wile of Renshaw Waring. Onoemore 1 )n« more Old Time unbar* the client tomb, aome of numer- For rMh adltional Insertion, .V sore noder his reoenl loeeee, flung out She had never imq her father moved before— the ezpeoted interview with hia little Buu baa ber New Year. The In the l*ast Land where his dead Year* are lying, Beyne, Happy 3y the year, per square, 10,uo YEAR. and brilliant with a oaa client#. world that a acorned her now ill (Ida by side, amid the eternal gloom ; BUN'S HAPPY NEW some sharp sentences, whiok vera taken up her gay, papa, alwaya ready great year ago Tbe established Is twelve lines kind ur a ahe trembled dreaeed u ahe U, ha doea not recog- finds out ita ana lta artua to square nonpareil; ¥ or now hta last-born In the night la dying. blown hither and thither. word jeat—end against Simply mistake, opeaa when set In ur a somewhat nize the before for the whose larger type, displayed, I believe thia is the end for to-night. Two or three had his boaoni without a word. young girl him; little her; but there ere dearer ariaa within is "Well, nights ago, Henry Seyne larger space allowed the square. on the left— com- m Bon he remembered waa clothed like a fold she lie blda adieu the eolemn, dark-robed Hours, Yes, that i» the package of bills been lUvoue to Rosamond Bay lie, almost Dy>and*by ahe Mid, if in explanation, "It fairy sheltering finds happiness. to Seyne and when A word recalla That, on* by one, glide by his anowy bed— Ati'l j uu will communicate Grude'and mitting himself bv various ardent speeches, wm not so atrange, perhaps, papa, you princeas. lnd now the bella from a thousand towera over the better. deck- and ahe ".Miss I your STjaxxrsas cards. great first. The sooner it's Heigh- carrying off in the rosea that had remember how I wm dreaaed ;" drop- Daylie! beg pardon." Chant out hTs the Year Is des^d. the cloud triumph With tbe aame aa on another 00- John 0. requiem—tor bo !" and a long yawn exhaled with ed her hair. Now the roees lay withered, and ped the cloak from her shoulders, diacloaing composure Breckinridge. of cigar smoke, ami the face of the smoker Rosamond Baylie wondered at nit neglect. that aumptuona Princess Royal raiftient. caaion ahe atatea her errand. Perhape Ren- lo a new-born cherub near, of da> But hovering seemed to assume a gray tinge in the gray light A little whilo and the chill air that was His hMrt aank within him m be her. ahaw Waring hoi fifty Juat auch applications It is announced, upon the testimony CHARLES H. GRANGER, Whoea »hall the starry circle thro', gath- regarded wine* sweep ot the smoke. settled mena* he not have Mved her an Mrlier every day. lie waa to forty serters trom the rebel army, that Msj. Oen. at Hammer Saco. For the or the Year ering in the social atmosphere, What might by obliged dianppoint Ttaclier Music. street, death-struggles passing the of out this If not more. He aid not di«- died from wounds re- Wera still the of the coming new. The lawyer, drawing forth package about her. She began to feel unoom- confident*! of fifty, John C. Breckinridge Pianos tuned to order. Ut( blrth*panga cinifTy Oen. Brack* bills on the left, remarked something politely, fortable, she knew not why, What was the "Bun," he Mid, auddenly, "who wm there appuint Rosamond Baylie, however, but made oeived in the fighting at Ringold. the between short, a roll for her whloh would ber em* was born near Kentucky, TAPLEY <ow Janus wears a smiling fkee before. to which other returned, matter ? Poor little Bun ! that you know well?" up keep Lexington, jrSMITH, ; inridge law at theTran- Yet baekward looks a sad, a long adleui energetic whiffs. It happened that Warii^. lawyer Waring, "0, everybody, almoat! Henri Soyne, ployed a week. Jan. 21,1821. Having studied at oan — he reaided for a Attorneys and Counsellors Law, From the aama fountain doth Aquarius pour "No, I don't tkiak my oreditore iustly was one of the orermokere^r aft this. At first and—" "So you ara out of. town, your father tell* ay I van La Institute, in hia State, Tears for the old, libatlona to Hie new. accuse me of unfairness. I believe I have he remarks to her aa the but soon returned to Ken- SACO, any when the buss of her eotranee went round, and "Henri 8eyne f wm there?' me, he la making up abort time in Iowa, as Mr. honora- was " and settled In where he b«« for the of all claims been, you say, Waring, ttrlctly be the glitter of her dress, litf in- "Yea package. tucky Lexington, Bare facilities prosecution Time buries hlsdead,and from the tomb oomes forth. caught members of hla pro- the 8tate and tbe United States. ble." clined to censure, But he took a seo- "What did he aay to you, Dun?" "Yea." came one of the leading against Rolls to the stone, and writes above the door perhaps. A nause, then a little absently, "But I face in innoccncc. "It is a old plaoe—Warehill." fession. In the Mexican war he waa sleeted acrvs p. Tartar. lyil edwi* a. surra Another that all the earth slight ond look. It waaaohild'e "Nothing, pleaaant epitaph, wish it could have been deferred at least. Dun lose her papa." "Do know Mr. WaringT" of the 3d of Kentucky Volun. Shall read and ponder through the evermore. Then he suddenly recalled, "Bun will He around his teeth, and commenced walking you it, Major Regiment will lose her New uow. Poor lit- ho mut- waa born Miss Tbe but as hia waa mustered late, NATHANIEL 1IOBBS, Happy Year, Happy New Year 1 Puor little Bun 1" With up and down the room. "The fools!" "I there. Bajlie. prop- teers, regiment tle Dun !" at once that it wtu a used to be called IIill. but It re- he had but little fur active service. i 'here is the story of the by-gone Years, hie keen, professionally-aducated perceptions, tered, "not to perceive ty Wariug got opportunity his the was elected to the House of ATTORNEY AT LAW, Their joys and eorr»ws, and their love mid hate ; The lawyer glanced up from occupation, he hrtrnn to comprehend the whole matter. child's ignorance. And Waring/ he went on, duced to Warehill, which country people On his return, he bitter tear* as a look aoross at the broker, to 'Warell.'" of In be waa XOR Tit RCRtriCK, .VJT. Lnd there the lachrymals of and ho tlashetl John liayiitf, ahrtiwd and sharp, and sagacious, "you didn't know Wnring before, ch 7" shorten Representatives Kentucky. 1831, Stand forever, the frowning gate. was the least visiblo in his all that She ft Katlue's Federal House of full, by there just surprise and "hard," had a soft spot in his heart; this She told him of his introduction, and laughed littie, remembering electal to tlio Reprcsentativea face. What was it? What did he and In 1833. over C/4i«i en tkr Gwtntmtnt for Itounty, Pensions, impassable soft spot was little Bun. Here sho was. And followed. very pronunciation. over General Leslie Cojinbs, at reasona 1 'here hang the scutcheons of deuirted nations j to him? of thia to him with ft the accession of Back Pay and Prlsi Money, prosecuted see in John Baylie surprise he who had courage to look the most disastrous As in a gloxs ho 8aw every ahado I'reaently rising go, thanking Gov. Robert Letcher. Upon There the red of their and seen.
Load more

Recommended publications
  • The Timeliness of Duruflé's Requiem Book Title
    University of California Press Chapter Title: The Timeliness of Duruflé’s Requiem Book Title: Musical Legacy of Wartime France Book Author(s): LESLIE A. SPROUT Published by: University of California Press. (2013) Stable URL: https://www.jstor.org/stable/10.1525/j.ctt3fh2q4.8 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Musical Legacy of Wartime France This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:20:01 UTC All use subject to https://about.jstor.org/terms 4 The Timeliness of Duruflé’s Requiem Plain-chant and polyphony, dominant ninths and the orchestra of Debussy—without the evidence of an actual performance, Duruflé’s Requiem might appear to be a hotch-potch. But it is the absolute unification in a very personal manner of these seemingly disparate elements that constitutes Duruflé’s chief claim to be taken seriously as a composer. felix aprahamian, “Maurice Duruflé and His Requiem” vichy’s symphonic commissions and the music of the catholic church In May 1941 Maurice Duruflé received a commission from Vichy’s Administration of Fine Arts to write a symphonic poem, for which he was offered ten thousand francs, payable upon completion of the work.1 Reversing the program’s steady decline each year since its inception in 1938, the administration provided ample funds—270,000 francs—to grant a total of seventeen commissions between May and August 1941, the first year of commissions granted under the new regime.
    [Show full text]
  • Requiem Eucharist for the Commemoration of the Faithful Departed for All Souls’ Sunday 1 November 2020 3.00 Pm Welcome to St Edmundsbury Cathedral
    Requiem Eucharist for the Commemoration of the Faithful Departed for All Souls’ Sunday 1 November 2020 3.00 pm Welcome to St Edmundsbury Cathedral In this afternoon’s All Souls’ Service we remember with thanksgiving the people we love who have died. The Commemoration of the departed on All Souls’ Day celebrates the saints in a more intimate way than All Saints’ Day. It allows us to remember with thanksgiving before God those whom we have known directly: those who gave us life, or who supported and encouraged us on life’s journey or who nurtured us in faith. In our worship, we sense that it is a fearful thing to come before the unutterable goodness and holiness of God, even for those who are redeemed in Christ; that it is searing as well as life-giving to experience God’s mercy. This instinct is expressed in the liturgy of All Souls’ Day. During this service, everyone is invited to bring the names of loved ones departed, written on the small white card crosses, to the cross before the altar, and to light a prayer candle there. Names will not be read aloud so that the total focus of this part of the liturgy may be on silent prayer and our individual commendation to God of those whom we remember but see no more. Music at today’s service The Cathedral Choir sings the Requiem, Op. 48 by Gabriel Fauré, 1845–1924. Service order extracts from Common Worship Services, © The Central Board of Finance of The Church of England. Music reproduced with permission - CCL Licence No 317297 ¶ The Order of Service As the choir and clergy gather at the west end of the Nave, the President welcomes the congregation from the Pavement, and then leads The Greeting President We meet in the name of the Father, and of the Son, and of the Holy Spirit.
    [Show full text]
  • Poetry, Spirituality, and Future Memory in the Light Strings of Felix Gonzalez-Torres
    REQUIEM FOR THE SHADOWS: POETRY, SPIRITUALITY, AND FUTURE MEMORY IN THE LIGHT STRINGS OF FELIX GONZALEZ-TORRES A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of the Arts by Shawn Diamond May, 2016 Thesis written by Shawn Diamond B.A., Kent State University, 2014 M.A., Kent State University, 2016 Approved by _____________________________________ John-Michael Howell Warner, Ph.D., Advisor ____________________________________ Christine Havice, Ph.D., Director, School of Art ____________________________________ John Crawford-Spinelli, Ed.D., Dean, College of Arts iii TABLE OF CONTENTS Page LIST OF FIGURES…………………………………………...…………………...……………..iv ACKNOWLEDGEMENTS…………………..……………...……..……………………………..v I. INTRODUCTION……….……………………………….....…………………………………..1 II. POETRY……………………………..…………………….…………………………………15 III. SPIRITUALITY………..………………..…………………………………..………………31 IV. MEMORY…….……………………………..……...……………………………………….41 V. AFTERWARDS…………….………………………..……………………..………………..52 BIBLIOGRAPHY………………………………..…………………………………………..…..54 FIGURES…………………..………..………………………….………………………………..58 APPENDIX: FINAL SOLILOQUY OF THE INTERIOR PARAMOUR…………...………….66 iv LIST OF FIGURES Figure Page 1. Felix Gonzalez-Torres, “Untitled” (Perfect Lovers), (1987-1990)……..………………...…..1 2. Felix Gonzalez-Torres, “Untitled” (Last Light), (1993)…………………………….………...6 3. Felix Gonzalez-Torres, “Untitled” (A Couple), (1993)…………….......................................13 4. Felix Gonzalez-Torres, “Untitled” (March 5th) #2, (1991).....................................................15
    [Show full text]
  • Changing Images of Purgatory in Selected Us
    FROM PAINFUL PRISON TO HOPEFUL PURIFICATION: CHANGING IMAGES OF PURGATORY IN SELECTED U.S. CATHOLIC PERIODICALS, 1909-1960 Dissertation Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in Theology By Timothy G. Dillon UNIVERSITY OF DAYTON Dayton, Ohio December, 2013 FROM PAINFUL PRISON TO HOPEFUL PURIFICATION: CHANGING IMAGES OF PURGATORY IN SELECTED U.S. CATHOLIC PERIODICALS, 1909-1960 Name: Dillon, Timothy Gerard APPROVED BY: __________________________________________ William L. Portier, Ph. D. Faculty Advisor __________________________________________ Patrick Carey, Ph.D. External Faculty Reader __________________________________________ Dennis Doyle, Ph.D. Faculty Reader __________________________________________ Anthony Smith, Ph.D. Faculty Reader __________________________________________ Sandra Yocum, Ph.D. Faculty Reader ii ABSTRACT FROM PAINFUL PRISON TO HOPEFUL PURIFICATION: CHANGING IMAGES OF PURGATORY IN SELECTED U.S. CATHOLIC PERIODICALS, 1909-1960 Name: Dillon, Timothy Gerard University of Dayton Advisor: Dr. William L. Portier Prior to 1960, U.S. Catholic periodicals regularly featured articles on the topic of purgatory, especially in November, the month for remembering the dead. Over the next three decades were very few articles on the topic. The dramatic decrease in the number of articles concerning purgatory reflected changes in theology, practice, and society. This dissertation argues that the decreased attention
    [Show full text]
  • Representations of Grief in Akhmatova's Requiem And
    Colby College Digital Commons @ Colby Honors Theses Student Research 2008 Representations of Grief in Akhmatova’s Requiem and Pushkin’s the Bronze Horseman Hillary R. Smith Colby College Follow this and additional works at: https://digitalcommons.colby.edu/honorstheses Part of the English Language and Literature Commons Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation Smith, Hillary R., "Representations of Grief in Akhmatova’s Requiem and Pushkin’s the Bronze Horseman" (2008). Honors Theses. Paper 294. https://digitalcommons.colby.edu/honorstheses/294 This Honors Thesis (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Colby. Representations of Grief in Akhmatova’s Requiem and Pushkin’s The Bronze Horseman Hillary Smith Colby College English Senior Honors Thesis – EN 483 First Reader: Patricia Onion Second Reader: Sheila McCarthy Pat and Sheila: thank you both so much for having faith in me in my darkest hours and moments of senioritis (and for being my own personal bronze horseman when necessary) – I couldn’t have done it without you! 2 Table of Contents Note on Translations ………………………………………………………………… 4 Instead of a First Paragraph …………………………………………………………. 5 Introduction ………………………………………………………………………….. 9 Pushkin – a Biography ……………………………………………………………... 11 Akhmatova – a Biography …………………………………………………………. 14 The Parallel Journey’s of Akhmatova and Evgeny ………………………………... 17 The Geography of Grief ……………………………………………………………. 24 A Requiem for Russia ……………………………………………………………… 33 Anna Politkovskaya: A Modern-Day Akhmatova ………………………………….
    [Show full text]
  • Noise, Dissonance and the Twentieth-Century Spiritual Crisis: Synchresis in Chion’S Requiem
    Noise, Dissonance and the Twentieth-Century Spiritual Crisis: Synchresis in Chion’s Requiem Sarah L. Jacobs and Paul Rudy University of Missouri – Kansas City, Conservatory of Music [email protected] [email protected] Abstract The collision of old and new ideologies in both music and religion becomes the primary message of Requiem. Michel Chion’s Requiem (1973) exhibits an iconoclastic use Synchresis, Chion’s own notion of superimposing of traditional religious texts. The second half of the incongruous image and sound in film (1994) is carried out twentieth century had inaugurated a time of radical cultural here purely with sound through the referential nature of change; a crisis of faith existed, as changes in religious chosen source and the ironic treatment of that material. The thought occurred too fast for new forms of expression to very opening of the work sets up the frame through the develop. Old rituals and categories were no longer juxtaposition of a grating pitched noise and recited text from adequate to describe the human experience, yet there the “Requiem Aeternam” continued to be a need for religious expression. A parallel crisis was developing in music, as classical music became Musical Example 1: 01 0.00:00-01:00 (1’) enshrined in old forms. Composers, recognizing the inadequacy of old models of expression for contemporary In this analysis, the cultural and religious clashes of the spiritual and musical needs, sometimes placed religious twentieth century will be mapped onto the choice of source themes and texts into new contexts, resulting in a mingling material as well as the ironic treatment of that source of the sacred and the profane which may appear to be throughout Requiem.
    [Show full text]
  • Caecilia V60n05 1934
    r~~~~~~~~~~l t MAY 1934 } t - .~, } t } Maga:z:ine of t CATHOLIC CHURCH t and SCHOC)L MUSIC t Founded A. D. 1874 by John Singenberger t FEAT1JRES t CARDINAL O'CONNELL TO OIBSERVE GOLDEN JUBILEE SINGENBERGER *SOCIETY FORMED t * CHURCH MUSIC IN AUSTRIA t THE ORGAN MUSIC *OF LEON BOELLMANN * t WHY THE CHlJRCH SINGS t Published by McLAUGHLIr~ & REILLY COMPANY t ])00 Boylston Stree'l, Boston, Mass. LITURGICAL MASSES-McLAUGHLIN & REILLY EDITION • Means Approved St. Gregory "White List" 505 Tappert, H., Mass of St. Rose of UNISON Lima ..•••...••.•••••••••••• .35 (Voice Parts Available) 506 *Tappert, H., Missa SSt Ang. Custo- dum........................ .60 11 Manell. opus 198 $ .60 669 Witt, F. X., Missa Exultet. ••••• •• .80 339 Groin, Mass of St. Joseph. ..••. .. .60 V oice Part .......••..•••••••• .40 342 Grieabacher, Missa Janua Coeli. .. .60 340 Wheeler, V. B., Mass in G minor.. .60 564 Becker, Mass of St. Frands Xavier. .60 Voice Part .............••...• .25 640 Dumler, Missa Cantate Pueri. ...• .60 362 Predmore, Mass of Good Shepherd. .40 622 Smith, Missa Maria Mater Dei. .. .60 THREE PART (S.S.A.) lWO PART 518 Cherubim, Mass of St. Alfons...••$ .35 (Chant, harmonized alternately) 508 Dore, M., Mass in G $ .40 666 Gisela, Mass of Our Lady. .•••••• .60 221 Marsh, W. J., Mass of the Holy 563 Shaefers, Mass of Blessed Julie. •• .60 Angels ..•..............•.... .60 C218 Smith, Mass of Sacred Heart. •..• .60 Voice Part. .. .. •..•........ .. .25 P.G. Cherion, Messe de Stet Cecile.. •• .80 363 Marsh, W. J., Choral Mass. .... .. .60 Voice Part .....•......•...... .25 REQUIEM 519 Meyer, J. J., Mass of St. Theresa.. .35 447 *Singenberger, Mass of St.
    [Show full text]
  • Reflections on and Around Britten's War Requiem at Yale Mervyn
    Reflections on and around Britten’s War Requiem at Yale Mervyn Cooke Adapted from the Tangeman Lecture delivered April 28, 2007 On 28 April 2007 a magnificent performance of Benjamin Britten’s War Requiem was given in Woolsey Hall, New Haven, by the Philharmonia Orchestra of Yale under the conductor Shinik Hahm, with Sara Jakubiak, James Taylor, and Detlef Roth the soprano, tenor, and baritone soloists, the Yale Schola Cantorum, Yale Camerata, Yale Glee Club, Trinity Church Boys’ and Girls’ Choirs, and Elm City Girls’ Choir; the performance had been given by the same forces at Boston’s Symphony Hall on the previous day. Before the Yale concert it was my privilege to offer some thoughts on Britten’s work in the shape of the Yale Institute of Sacred Music’s annual Tangeman Lecture. Our discussion focused not only on Britten’s economical and highly communicative musical idiom, but also on the various levels of irony presented by this multi-layered and thought-provoking score, which brings together – often in direct and disquieting collisions – vernacular settings of anti-war texts by the First World War poet Wilfred Owen (1893-1918), delivered in English by solo tenor and baritone voices with chamber-orchestral accompaniment, and the Latin Missa pro defunctis, declaimed by an operatic soprano soloist, large choir, and full orchestra; these together provide a more conventional backdrop sometimes reminiscent of the operatic style of Giuseppe Verdi. Britten’s work had been commissioned in the late 1950s to mark the consecration of the modern cathedral built at Coventry (in the British county of Warwickshire), the city’s old cathedral having been destroyed by German bombing in November 1940; his score was first performed in the new building, designed by the architect Basil Spence and poignantly erected alongside the ruins of the medieval building it replaced, on 30 May 1962.
    [Show full text]
  • The Sweet Requiem
    A production of White Crane Films | Dialectic THE SWEET REQUIEM http://thesweetrequiem.com Directed by Ritu Sarin & Tenzing Sonam WORLD PREMIERE | OFFICIAL SELECTION TORONTO INTERNATIONAL FILM FESTIVAL 2018 / INDIA-USA / TIBETAN / 91:32 Publicity and Sales: Shrihari Sathe [email protected] LOGLINE When a young, exile Tibetan woman unexpectedly sees a man from her past, long- suppressed memories of her traumatic escape across the Himalayas are reignited and she is propelled on an obsessive search for reconciliation and closure. SHORT SYNOPSIS Dolkar, a 26-year-old exile Tibetan, lives in Delhi. 18 years ago, she escaped from Tibet with her father, making a perilous trek across the Himalayas that ended in tragedy. Dolkar has suppressed all recollection of that traumatic incident. But when she unexpectedly encounters Gompo, the guide who abandoned them during their journey, memories of her escape are reignited and she is propelled on an obsessive search for retribution and closure. Flashbacks of her desperate journey with a small group through a harsh and desolate Himalayan terrain punctuate her growing predicament in the present as she follows Gompo through the claustrophobic alleys of the Tibetan refugee colony in Delhi. The two stories moving in tandem, both determined by a series of fateful choices, reach their conclusion as Dolkar and Gompo finally confront each other. LONG SYNOPSIS DOLKAR, a 26-year-old Tibetan woman, lives in New Delhi where she works as a beautician in an upmarket salon. Outwardly fun-loving with a busy social life, she is secretly haunted by a deep sense of guilt over an incident that occurred when she was a child.
    [Show full text]
  • “SCULLY, WHAT ARE YOU WEARING?”: the PROBLEM of FEMINISM, SUBVERSION, and HETERONORMATIVITY in the X-FILES by LACY HODGES A
    “SCULLY, WHAT ARE YOU WEARING?”: THE PROBLEM OF FEMINISM, SUBVERSION, AND HETERONORMATIVITY IN THE X-FILES By LACY HODGES A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Lacy Hodges ACKNOWLEDGMENTS I would like to thank the English Department at the University of Florida for allowing me this opportunity. Thanks especially go to Dr. Andrew Gordon for his guidance, support, and encouragement, as well Dr. Brandon Kershner for his additional support throughout this project. I would also like to thank my parents for their continued support, even after I abandoned a possibly lucrative career for a much more personally fulfilling one. My sincerest gratitude also goes out to Erin, for laughter, honest criticism, and, while always encouraging me, never letting me take myself too seriously. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ............................................................................................. iii ABSTRACT....................................................................................................................v CHAPTER 1 INTRODUCTION....................................................................................................1 2 “THE FBI’S MOST UNWANTED”: MULDER AND SCULLY AS LONE HERO.......................................................................................................................6 3 “I DO NOT GAZE AT SCULLY”: SCULLY, SEXUALITY, AND VISUAL
    [Show full text]
  • Souls' Requiem
    OUR VISION: A world where people experience God’s love and are made whole. OUR MISSION: To share the love of Jesus through compassion, inclusivity, creativity and learning. Calla Lily Valley in Big Sur, California. All Souls’ Requiem 12 November 2017 11 a.m. Choral Eucharist Welcome to Grace Cathedral Welcome to this sacred house of prayer for all people. Those who built this place and care for it love tradition and feel passionate about engaging with what is new. If you look closely you will find images of scientists, reformers, Jewish rabbis and Roman Catholic popes, political leaders, saints and even an astronaut. We invite you to be part of this joyful community even if your visit is short. You might ask yourself two questions: “What do I need to receive? What do I have to give?” We would be delighted to hear about your explorations. May God bless you on your journey! – The Very Rev. Dr. Malcolm Clemens Young, Dean of Grace Cathedral • If you are new to Grace Cathedral, please introduce yourself and fill out a welcome card so we can be in touch with you. We’re glad you’re here! • Join us for coffee and conversation across the plaza in the Chapter House Library after the 8:30 a.m. service or in the Dining Room after the 11 a.m. service. • Find out about our programs for children, youth and families at coffee hour. about today’s readings Wisdom 3:1-9; 1 Corinthians 15:50-58; John 5:24-27 Reading texts can be found at the end of the service leaflet.
    [Show full text]
  • The Breakthrough Character of the X-Files: Genre Hybridity and Narrative Structure
    Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.13 Agnieszka Smoręda ORCID: 0000-0001-7451-0933 University of Łódź The breakthrough character of The X-Files: Genre hybridity and narrative structure Keywords: The X-Files, narrative complexity, narrative strategies, genre hybridity, TV series, television Słowa kluczowe: Z Archiwum X, złożoność narracyjna, strategie narracyjne, hybrydyzacja gatunkowa, serial, telewizja The beginning of the 1990s was for the United States a particular time. The end of the Cold War and the lack of an easily identifiable external enemy forced many Americans to focus on the country’s internal problems.1 At the same time, the entertainment industry, television in particular, began to change as well. The technological evolution made television producers ever so boldly use the achieve- ments of the film industry, such as hand-held cameras, first incorporated in the late 1980s in the TV series Hill Street Blues (created by Steven Bochco, Michael Ko- zoll, 1981–1987) and popularized in the following decade.2 For television’s Big Three — NBC, ABC, and CBS — new competition emerged through the creation of Fox Broadcasting Company. It began broadcasting in 1986 and only seven years later, in January 1993, FOX started offering original programming seven days a week, thus gaining the status of a broadcasting network. In the fall of the same year, The X-Files (created by Chris Carter, 1993–2002, 2016–2018), a defining series of the 1990s, debuts. The purpose of the following article is to examine the innovative character of the series, using on the one hand genre theory and on the other, David Bordwell’s historical poetics adapted by Jason Mittell “to understand the formal storytelling 1 L.
    [Show full text]