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Robert Kelly
1 Robert Kelly MAY DAY Poems 2003-2005 Originally published by the Parsifal Press, Toronto 2007 Now made readable on line. 2 Copyright © 2007, 2009 by Robert Kelly Some of these poems were first printed elsewhere … for example in Capitalism Nature Socialism (Joel Kovel), Conjunctions (Bradford Morrow), Elixir (Zia Inayat Khan), First Intensity (Lee Chapman ), The Modern Review (Simone dos Anjos and Pietro Aman), Irish Poetry Review (Peter Sirr), The Bard Papers (Alexandra Dumont), New Politics (Marvin Mandell and Betty Reid Mandell) The 2007 Alhambra Poetry Calendar (Shafiq Naz). For help in the selection and ordering of some of these poems, I owe a debt to the tuneful ears and lucid reading of Simone dos Anjos, the founder of Parsifal Press, and first publisher of this collection. 3 Skies? We make those lights. Nature is our half-remembered dream. for Charlotte 4 CONTENTS Elegies for Osiris 6 Lovecraft 9 The Flies of October 10 Night Grammar 12 A Theory of Leaf Management 13 Rembrandt’s Raising of Lazarus, 1642 17 The Poor Land of Tyrol 18 The Politics of You 20 Twelfth Night 22 Identity 24 History Lesson 25 Some words I say come out all wrong 26 Early Dutch Breakfast Paintings 27 Tumult spirit 28 Young lionesses patrol 29 The Construction of Hell 30 You read me shallowly these days 31 An Elegy for Wolves 32 Brahms, String Quartet No.1 in c, Op.51 36 When boys were named Lester and girls were called Kate 37 Oblation 38 1878 Brown Street 39 We say he went to heaven 40 A Writing with John Clare 41 May Day 42 Science 44 The Daybed 45 The -
Press Release 23/5/2018
THE KARLOVY VARY FESTIVAL TO HONOR ACADEMY AWARD-WINNING DIRECTOR BARRY LEVINSON At this year’s Karlovy Vary festival, screenwriter-producer-director Barry Levinson, who won an Academy Award for Rain Man, will accept the Crystal Globe for Outstanding Artistic Contribution to World Cinema. The Karlovy Vary festival continues its tradition of recognizing the most important personalities of world cinema, the likes of which include directors William Friedkin, Jerry Schatzberg, and Ken Loach, and screenwriter Paul Laverty. In his writing and directing capacity, Academy Award winner and five-time nominee Barry Levinson deftly combines personal stories with an often satirical look at society, and his movies have fundamentally influenced numerous young filmmakers. Barry Levinson established himself as a writer of successful television shows. With his onetime wife, Valerie Curtin, he then wrote the movie script for Norman Jewison’s courtroom drama …and justice for all (1979), which brought them an Oscar nomination. He debuted as a director with the comedy-drama Diner (1982), receiving his second Oscar nomination for the script. Ivan Král, a Czech musician based in the US, co- wrote the film music. Subsequent titles confirmed his reputation with critics and audiences: The Natural (1984) with Robert Redford, Tin Men (1987) with Richard Dreyfuss and Danny DeVito, and Good Morning, Vietnam (1987) with Robin Williams. This year marks the 30th anniversary of the legendary picture Rain Man (1988), awarded four Oscars (e.g. Best Director for Barry Levinson) and numerous other honors, including the Golden Bear at the Berlinale and the David di Donatello for Best Foreign Film. -
Hitchhiking: the Travelling Female Body Vivienne Plumb University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 Hitchhiking: the travelling female body Vivienne Plumb University of Wollongong Recommended Citation Plumb, Vivienne, Hitchhiking: the travelling female body, Doctorate of Creative Arts thesis, School of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3913 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Hitchhiking: the travelling female body A thesis submitted in fulfillment of the requirements for the award of the degree Doctorate of Creative Arts from UNIVERSITY OF WOLLONGONG by Vivienne Plumb M.A. B.A. (Victoria University, N.Z.) School of Creative Arts, Faculty of Law, Humanities & the Arts. 2012 i CERTIFICATION I, Vivienne Plumb, declare that this thesis, submitted in partial fulfillment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, School of Journalism and Creative Writing, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Vivienne Plumb November 30th, 2012. ii Acknowledgements I would like to acknowledge the support of my friends and family throughout the period of time that I have worked on my thesis; and to acknowledge Professor Robyn Longhurst and her work on space and place, and I would also like to express sincerest thanks to my academic supervisor, Dr Shady Cosgrove, Sub Dean in the Creative Arts Faculty. Finally, I would like to thank the staff of the Faculty of Creative Arts, in particular Olena Cullen, Teaching and Learning Manager, Creative Arts Faculty, who has always had time to help with any problems. -
This Is a Complete Transcript of the Oral History Interview with Mary Goforth Moynan (CN 189, T3) for the Billy Graham Center Archives
This is a complete transcript of the oral history interview with Mary Goforth Moynan (CN 189, T3) for the Billy Graham Center Archives. No spoken words which were recorded are omitted. In a very few cases, the transcribers could not understand what was said, in which case [unclear] was inserted. Also, grunts and verbal hesitations such as “ah” or “um” are usually omitted. Readers of this transcript should remember that this is a transcript of spoken English, which follows a different rhythm and even rule than written English. Three dots indicate an interruption or break in the train of thought within the sentence of the speaker. Four dots indicate what the transcriber believes to be the end of an incomplete sentence. ( ) Word in parentheses are asides made by the speaker. [ ] Words in brackets are comments made by the transcriber. This transcript was created by Kate Baisley, Janyce H. Nasgowitz, and Paul Ericksen and was completed in April 2000. Please note: This oral history interview expresses the personal memories and opinions of the interviewee and does not necessarily represent the views or policies of the Billy Graham Center Archives or Wheaton College. © 2017. The Billy Graham Center Archives. All rights reserved. This transcript may be reused with the following publication credit: Used by permission of the Billy Graham Center Archives, Wheaton College, Wheaton, IL. BGC Archives CN 189, T3 Transcript - Page 2 Collection 189, T3. Oral history interview with Mary Goforth Moynan by Robert Van Gorder (and for a later portion of the recording by an unidentified woman, perhaps Van Gorder=s wife), recorded between March and June 1980. -
1 Wuthering Heights (William Wyler, 1939; Robert Fuest, 1970; Jacques
1 Wuthering Heights (William Wyler, 1939; Robert Fuest, 1970; Jacques Rivette, 1985; Peter Kosminsky, 1992) Wyler’s ghastly sentimental version concedes nothing to the proletariat: with the exception of Leo G. Carroll, who discards his usual patrician demeanour and sports a convincing Yorkshire accent as Joseph, all the characters are as bourgeois as Sam Goldwyn could have wished. Not even Flora Robson as Ellen Dean – she should have known better – has the nerve to go vocally downmarket. Heathcliff may come from the streets of Liverpool, and may have been brought up in the dales, but Olivier’s moon-eyed Romeo-alternative version of him (now and again he looks slightly dishevelled, and slightly malicious) comes from RADA and nowhere else. Any thought that Heathcliff is diabolical, or that either he or Catherine come from a different dimension altogether was, it’s clear, too much for Hollywood to think about. Couple all this with Merle Oberon’s flat face, white makeup, too-straight nose and curtailed hairstyles, and you have a recipe for disaster. We’re alerted to something being wrong when, on the titles, the umlaut in Emily’s surname becomes an acute accent. Oberon announces that she “ is Heathcliff!” in some alarm, as if being Heathcliff is the last thing she’d want to be. When Heathcliff comes back, he can of course speak as high and mightily as one could wish – and does: and the returned Olivier has that puzzled way of looking straight through a person as if they weren’t there which was one of his trademarks (see left): for a moment the drama looks as if it might ratchet up a notch or two. -
(#) Indicates That This Book Is Available As Ebook Or E
ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3. -
Human Reincarnation, Reformation, and Redemption in Wuthering Heights
Educating the Passions: Human Reincarnation, Reformation, and Redemption in Wuthering Heights A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERSITY Peterborough, Ontario, Canada © Copyright by Shahira Adel Hathout 2018 English (Public Texts) M.A. Graduate Program May 2018 Abstract Educating the Passions: Human Reincarnation and Reformation in Wuthering Heights Shahira Adel Hathout My thesis proposes to uncover what I term an Emilian Philosophy in the reading of Emily Brontë’s only novel, and suggests that Wuthering Heights reflects Brontë’s vision of a society progressing toward social and spiritual reform. Through this journey, Brontë seeks to conciliate the two contrasting sides of humanity – natural and social – by offering a middle state that willingly incorporates social law without perverting human nature by forcing it to mold itself into an unnatural social system, which in turn leads to a “wholesome” (Gesunde) humanity. While Heathcliff embodies Bronte’s view of a primitive stage of humanity, Hareton reincarnates the wholesome state of humanity that balances human natural creativity and cravings with Victorian unrelenting reason. Brontë treats Heathcliff’s death as a point in life, in which mankind is emancipated from social constraints and is able to achieve ultimate happiness. This view of death is reassuring as it displaces the anxiety associated with death and separation. My study will highlight the influence of Friedrich Schiller’s, Jean-Jacques Rousseau’s Philosophical writings and literary works, as well as the influence of the Franciscan Order in Catholicism and its founder St Francis of Assisi, patron saint of animals and environment, in framing Bronte’s philosophy to propose a social and religious reform anchored in nature. -
ECV-Book Final Web.Pdf
Wow. That was something else. Last night we met for one last time over at 180 Colony Road. We heard people share what they heard God saying in their affinity groups this summer. We heard challenges to free ourselves from enslavement to schedules and things, challenges to be long-haul people for the sake of the City, and a reminder that all our best plans and intentions are but sails waiting to be filled with the wind of God’s Spirit. We prayed for our city and for one another, for the things God has put on our hearts. And at the end, we sang “Work a Miracle in My Heart,” a song that I think has really become something of a theme song for whatever it is God is doing here. We are called to be prophets to this nation, Work a miracle in my heart, To be the word of God in every situation; work a miracle in my heart, Change my heart, change my heart today. work a miracle in my heart, O Lord, today. Who’ll be the salt If the salt should lose its flavour? Lord, take all my lies, and take all of my greed; Who’ll be the salt Let me be a sacrifice If the salt should lose its flavour? For those who are in need. Change my heart, change my heart today. Change my heart, change my heart today. Lord, without Your power Lord, Loose the chains of oppression; It’s all just good intentions; Lord, set the captives free. Lord, without Your grace Lord, fill my heart with Your compassion: Who could find redemption? shine Your light, shine Your light, Change my heart, change my heart today. -
Is [He] a Man? If So, Is He Mad? and If Not, Is He a Devil?”
“Is [he] a man? If so, is he mad? And if not, is he a devil?”: The Influence of Culture Versus Experience on the Brontë Sisters’ Perception of Mental Illness A Thesis Submitted to The Faculty of the College of Arts and Sciences In Candidacy for the Degree of Master of Arts in English By Catrina Mehltretter 1 May 2020 Liberty University College of Arts and Sciences Master of Arts in English Student Name: Catrina Mehltretter Thesis Chair: Dr. Tess Stockslager Date First Reader: Dr. Stephen Bell Date Second Reader: Dr. Mark Myers Date Dedicated in Memory of Margaret Isabel Thomas Beloved Grandmother and Fellow Brontë Scholar 9 November 1933 - 23 March 2020 Table of Contents Introduction—Branwell Brontë…………………………………………………………..……….1 Chapter One—Charlotte Brontë: Jane Eyre……………………………………………..……....15 Chapter Two—Anne Brontë: The Tenant of Wildfell Hall…………..………………………..…29 Chapter Three—Emily Brontë: Wuthering Heights………………….………...………...……...43 Conclusion……………………………….………………………………….…………...……....59 Works Cited……………………………………………………………………………………...68 Mehltretter 1 Introduction: Branwell Brontë A certain cultural stigma has always surrounded mental illnesses, as society views the people afflicted with these illnesses as different or unclean, sometimes even dangerous. This perception is often perpetuated within literature, as any mentally ill characters are written as two- dimensional lunatics rather than real people, or the authors choose to avoid the issue of mental illness within their novels altogether. During the Victorian era, the accepted practice was to send these people away to asylums, thereby minimizing any burden on the family members, but this time period was also a turning point in scientific thought surrounding mental health, which in turn led to a reform in the treatment of the mentally ill within these asylums. -
Desperate Housewives a Lot Goes on in the Strange Neighborhood of Wisteria Lane
Desperate Housewives A lot goes on in the strange neighborhood of Wisteria Lane. Sneak into the lives of five women: Susan, a single mother; Lynette, a woman desperately trying to b alance family and career; Gabrielle, an exmodel who has everything but a good m arriage; Bree, a perfect housewife with an imperfect relationship and Edie Britt , a real estate agent with a rocking love life. These are the famous five of Des perate Housewives, a primetime TV show. Get an insight into these popular charac ters with these Desperate Housewives quotes. Susan Yeah, well, my heart wants to hurt you, but I'm able to control myself! How would you feel if I used your child support payments for plastic surgery? Every time we went out for pizza you could have said, "Hey, I once killed a man. " Okay, yes I am closer to your father than I have been in the past, the bitter ha tred has now settled to a respectful disgust. Lynette Please hear me out this is important. Today I have a chance to join the human rac e for a few hours there are actual adults waiting for me with margaritas. Loo k, I'm in a dress, I have makeup on. We didn't exactly forget. It's just usually when the hostess dies, the party is off. And I love you because you find ways to compliment me when you could just say, " I told you so." Gabrielle I want a sexy little convertible! And I want to buy one, right now! Why are all rich men such jerks? The way I see it is that good friends support each other after something bad has happened, great friends act as if nothing has happened. -
Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters. -
Mardi 14 Mai 2013 Chants Officiels, Chants Du Silence Vincent Le Texier | Jeff Cohen
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Mardi 14 mai Mardi 2013 Mardi 14 mai 2013 Chants officiels, chants du silence Vincent Le Texier | Jeff Cohen Dans le cadre du cycle La musique pendant l’Occupation du 12 au 18 mai | Vincent Le Texier | Jeff | Cohen Le Texier | Vincent Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Chants officiels, chants du silence Cycle La musique pendant l’Occupation À l’échelle de l’histoire de la musique, les quatre années de l’occupation de la France par l’Allemagne nazie peuvent sembler trop brèves pour avoir influencé notoirement la vie musicale française. Elles sont pourtant une étape importante entre les deux parties du siècle, dans la mesure où elles voient s’affirmer une modernité de plus en plus radicale et un art musical de plus en plus administré. Dès les premiers jours de leur installation dans la capitale française, les autorités allemandes encouragent la reprise des activités artistiques alors que, dans le même temps, les Français n’ayant pas fui Paris veulent empêcher l’accaparement des institutions artistiques. C’est ainsi que quelques professeurs réussissent à rouvrir le Conservatoire le 24 juin 1940 et à y organiser le premier concert dans Paris occupé le 18 juillet. Le 22 août, c’est au tour de l’Opéra-Comique d’accueillir ses premiers spectateurs, auxquels on propose Carmen, puis, deux jours plus tard, du Palais Garnier qui présente La Damnation de Faust.