John Grisham a Time to Kill
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Norwich Kids Change the World One Circus Trick at a Time Elder Profile
Norwich, Vermont 05055 Holiday 2016 Est. September 1997 Norwich Kids Change the World Tyler Kirschner’s Legacy: One Circus Trick at a Time The Rusty Berrings Skatepark Tamar Schreibman Jennifer MacMillen ver February break, twenty American kids, mostly from the Upper Valley, will spend two n September 24th of this year, a beautiful thing happened. weeks in Zambia, developing their circus skills alongside kids from Chibolya, an Close to 350 kids of all ages (2-40+) gathered at Riverside Oimpoverished section of the Zambian capital of Lukhasa. For many of the kids from the OCommunity Park in West Lebanon to celebrate the U.S., this will be a return trip after their first journey there last winter. renaming of the skatepark The seeds were sown for this unlikely pairing of circus-loving kids from far ends of the earth and to commit to its during a snowstorm in New York City on Valentine’s Day of 2014. Norwich resident Brooke revitalization. As with Continued on page 18 most successful endeavors, this was and continues to be a joint effort between dedicated individuals and public and private entities. As is often the case, it seems that when tragedy occurs, magic soon follows. Thus is the case with the new life and energy being poured into the recently named Rusty Berrings Skatepark. Yes, “Rusty” knew how to spell “bearing” Tyler Kirschner, aka Rusty Berrings but being more than a little unconventional was how he rolled (no pun intended!). An avid skateboarder, artist and overall creative genius, Tyler Kirschner’s (aka Rusty Berrings) memory will live on in the Upper Valley’s local skatepark. -
Poetic Constraints of Lyric by Nicholas Andrew Theisen a Dissertation
Re[a]ding and Ignorance: Poetic Constraints of Lyric by Nicholas Andrew Theisen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2009 Doctoral Committee: Professor E. Ramirez-Christensen, Chair Professor Marjorie Levinson Associate Professor Johanna H. Prins Associate Professor Joseph D. Reed © Nicholas Andrew Theisen 2009 For no one ii Acknowledgements The work concluded, tentatively, with this dissertation would not have been possible without the continued intellectual engagement with my colleagues within and without the Department of Comparative Literature at the University of Michigan, especially (in no particular order) Michael Kicey, Meng Liansu, Sylwia Ejmont, Carrie Wood, and Sharon Marquart. I have benefited much from Jay Reed’s friendly antagonism, Marjorie Levinson’s keen insight, Esperanza Ramirez-Christensen’s grounding levity, and Yopie Prins’s magnanimity. But beyond the academic sphere, more or less, I’m am deeply indebted to Kobayashi Yasuko for reminding me that, to some, poetry matters as more than a mere figure of academic discourse and to my wife Colleen for her wholly unexpected insights and seemingly infinite patience. I have likely forgotten to mention numerous people; consider this my I.O.U. on a free drink. iii Table of Contents Dedication ii Acknowledgements iii List of Abbreviations vi List of Figures vii Chapters 1. Introduction 1 2. The Edges of Anne Carson’s Sappho 24 The Fragments of [Anne] Carson 27 Mutilation 45 3. Chocolate Bittersweet: Tawara Machi Translating Yosano Akiko 69 Bitter 71 Sweet 97 4. Separate but Equal: [un]Equating Catullus with Sappho 110 Impar 115 Par 128 Silence 140 5. -
Marketing Fragment 6 X 10.5.T65
Cambridge University Press 978-0-521-86606-4 - The Cambridge Companion to August Wilson Edited by Christopher Bigsby Excerpt More information 1 CHRISTOPHER BIGSBY August Wilson: the ground on which he stood I am one of those warrior spirits. The battle since the first African set foot on the continent of North America has been a battle for the affirmation of the value and worth of one’s being in the face of this society that says you’re worthless. ...AsAfricans prior to coming over here, they existed, and they were the center. Everything revolved around them in their world view. Over here, all of that has been taken and stripped away. So I say, ‘Let’s look at it. The world is right here in this back yard.’ There is no idea that cannot be contained by black life. We have the entire world here...italldepends on where you’re standing...I’mstanding over here. August Wilson1 On 2 October 2005 August Wilson died at the Swedish Medical Centre in Seattle. It was just eight months after the death of another American playwright, Arthur Miller. They came out of different worlds. Miller was descended from immigrants on both sides of the family, Jews who went to America to escape persecution and seek their fortune. And if they sub- sequently lost the fortune they made, they nonetheless never lost belief in the system that had redeemed them from a far worse fate. To be sure, they encountered prejudice, but even so they slid with some ease into an Amer- ica which swiftly bore the impress of European Jews as they emerged as entrepreneurs, artists, scientists and intellectuals surprisingly ready to inter- pret America to itself. -
Public Comment
North Downtown Subarea Plan and Environmental Impact Statement (EIS) Public Comment Received during the EIS Public Scoping Process June 14 – July 19, 2013 City of Tacoma Planning and Development Services Department 747 Market Street, Room 1036 Tacoma, WA 98402 Index Monica Adams, Pierce Transit --------------------------------------------------------------------- 1 Charlotte Brown --------------------------------------------------------------------------------------- 3 Anthony L-T Chen, Tacoma-Pierce County Health Department --------------------------- 4 David Cook --------------------------------------------------------------------------------------------- 6 Micaela Cooley ---------------------------------------------------------------------------------------- 7 Department of Ecology, Southwest Regional Office ------------------------------------------ 8 Dennis Engel, Washington State Department of Transportation --------------------------- 11 Karen Havnaer ------------------------------------------------------------------------------------------ 13 Scott Heller --------------------------------------------------------------------------------------------- 14 Debby Herbert (1) ------------------------------------------------------------------------------------- 16 Debby Herbert (2) ------------------------------------------------------------------------------------- 18 Debby Herbert (3) ------------------------------------------------------------------------------------- 20 Blaine Johnson (1) ------------------------------------------------------------------------------------ -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items. -
Larry Ochs' Interview with Luca Canini for Allaboutjazzitalia.Com Via Email in Winter 2013.(Published April 2013.) Questions
Larry Ochs’ interview with Luca Canini for AllAboutJazzItalia.com via email in winter 2013.(published April 2013.) Questions in bold. Some years ago, when I first listened to “Electric Ascension”, I was shocked by the intensity and power of the performance: past/future, tradition/innovation. That disc and the few concerts around the world are a deep reflection on jazz, history, improvisation, sound. But everything started back in 1995, when Rova decided to celebrate the 30th anniversary of John Coltrane’s masterpiece. Can you tell me something about the birth of the project? How do you decide to approach such a “problematic” piece (if you consider Ascension a “piece”)? And do you remember the first time you listen to Ascension? I think Coltrane’s “Ascension” is one of the great jazz compositions of all time. A great formal structure; a great piece. Not that I consider myself an expert on all jazz music. I really don’t. But I am an expert on the greatness of that composition. We have played it 11 times as “Electric Ascension.” And yes it is true that we re- arranged the piece and changed the instrumentation, but the basic composition “Ascension” is absolutely at the center of “Electric Ascension;” it totally influences all the music we play in the spontaneous performance. There is no doubt of that. I remember seeing John Coltrane live at the Village Vanguard with his late great quartet in 1967. I was 18. The music overwhelmed me completely. There were maybe 20 people there for that second set of their night. -
Caryl Churchill's Fourth New Play Imp Announced
PRESS RELEASE Friday 7 June 2019 CARYL CHURCHILL’S FOURTH NEW PLAY IMP ANNOUNCED Following last month’s announcement of new work which included details of three new Caryl Churchill plays, the Royal Court Theatre announces today a fourth play, Imp, just received from the celebrated writer. Glass. Kill. Bluebeard. Imp. will be directed by James Macdonald and will run in the Jerwood Theatre Downstairs Wednesday 18 September 2019 – Saturday 12 October 2019 with press night on Wednesday 25 September 2019, 7pm. Artistic Director of the Royal Court Theatre Vicky Featherstone said; “As Artistic Director of the Royal Court the precious moment when a play by Caryl Churchill arrives fully formed, breaking new ground and utterly surprising us is what this job is all about. I thought the delight I felt when she sent Glass, Kill and Bluebeard would be unsurpassed. Imagine then the joy when two weeks ago the wonderful Imp dropped into my inbox. So now we have four new and extraordinary plays by Caryl in our autumn season. Not three.” Set design by Miriam Buether, costume design by Nicky Gillibrand, lighting design by Jack Knowles and sound design by Christopher Shutt. “I can see her just. Most people can’t see her at all.” A girl made of glass. Gods and murders. A serial killer’s friends. And a secret in a bottle. Four stories by Caryl Churchill. Caryl Churchill’s most recent play Escaped Alone, opened at the Royal Court to critical acclaim and transferred to New York. Many of her plays which first premiered at the Royal Court are now considered modern classics including Top Girls, A Number and Far Away. -
On Beauty Convening Held at the Ford Foundation, Curated by Helicon Collaborative December 8, 2015
On Beauty Convening Held at the Ford Foundation, curated by Helicon Collaborative December 8, 2015 In December of 2015, as part of the Art of Change initiative, we brought together a small group of thinkers in a range of fields—psychology, economics, art, philosophy, public policy–to discuss the topic of beauty. We were starting with a contention that contemporary society has overvalued economic growth and technological innovation, equating these with progress in human development and prioritizing them at the expense of the things that in fact make life worth living—such as human connection, beauty, nature, love, and art. We know that material wealth does not lead to happiness, yet our hyper-capitalist society has made it increasingly difficult to talk about and champion the more humanistic elements of life as worthy of investment and development. Our goal was to invite people with vastly different perspectives to discuss how we might more effectively articulate, value, and nurture beauty as a basic need and right, and why it would benefit us as a society to do so. The conversation had two parts: • Exploring why beauty matters, and how beauty and justice are interdependent. • Expanding the space for beauty in our societal discourse and policymaking. We asked, in the words of Ford Foundation president Darren Walker, what it might take to build “an economy of empathy?” The convening attendees were incredibly generous with their thinking, and we share some of their statements below in response to the question of what beauty means for them and how it relates to justice. A full list of participants, agenda, and selected resources is here. -
April 1 to October 31 Niagara-On-The-Lake, Ontario
April 1 to October 31 Niagara-on-the-Lake, Ontario JACKIE MAXWELL Artistic Director The 2010 Shaw Festival Company Festival Theatre AN IDEAL HUSBAND 5 TO BE UPDATED Benedict Campbell David Jansen Marla McLean Ken James Stewart April 9 to October 31 Kawa Ada Lisa Codrington Gabrielle Jones Patrick McManus Richard Stewart Beryl Bain Krista Colosimo Claire Jullien Jim Mezon Steven Sutcliffe THE WOMEN 7 Michael Ball Nicolá Correia- Lorne Kennedy Peter Millard Jacqueline Thair May 12 to October 9 Guy Bannerman Damude Corrine Koslo Ali Momen Wendy Thatcher Neil Barclay Saccha Dennis Al Kozlik Laurie Paton Jay Turvey THE DOCTOR’S DILEMMA 9 Anthony Bekenn Sharry Flett Peter Krantz Gray Powell Mark Uhre June 10 to October 30 Donna Belleville Patrick Galligan Billy Lake Micheal Querin Jonathan Widdifield Kyle Blair Patricia Hamilton Anthony Malarky Ric Reid Robin Evan Willis Court House Theatre Evan Buliung Mary Haney Esther Maloney David Schurmann Kelly Wong THE CHERRY ORCHARD 11 Andrew Bunker Deborah Hay Thom Marriott Goldie Semple Jenny L. Wright April 20 to October 2 Fiona Byrne Patty Jamieson Julie Martell Graeme Somerville Jenny Young JOHN BULL’S OTHER ISLAND 13 June 18 to October 9 AGE OF AROUSAL 15 July 23 to October 10 Royal George Theatre HARVEY 17 April 1 to October 31 MANDATE TO COME ONE TOUCH OF VENUS 19 May 16 to October 10 HALF AN HOUR 21 LOREM IPSUM June 26 to October 9 LUNCHTIME Studio Theatre SERIOUS MONEY 23 July 31 to September 12 Reading Series 24 How to Order Tickets 25 Gift Certificates + Memberships 25 Theatre for all Budgets -
Bigsby, Christopher. "Index." Staging America. London: Methuen Drama, 2020
Bigsby, Christopher. "Index." Staging America. London: Methuen Drama, 2020. 235–239. Bloomsbury Collections. Web. 1 Oct. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:24 UTC. Copyright © Christopher Bigsby 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. I N D E X Abbie’s Irish Rose , 7 Bechdel, Alison, 97 Adjmi, David, 2 Beckett, Samuel, 103, 107, 120, 151 Adventures of the Barrio Grrr!! (Hudes), 79 Beautiful Mind, A , 37 Afghanistan invasion, 135, 177, 178, 180–4, 200 Betrayal (Packer), 164 Against (Shinn), 189, 210–12 Between Riverside and Crazy (Guirgis), 74–6 Akhtar, Ayad, 1, 6 ‘Big Two-Hearted River’ (Hemingway), 136 American Dervish , 10, 13–16, 17 Billington, Michael, 29, 68, 100, 154, 165, 171, 179, Disgraced , 6, 13, 16–20, 55–6 182–3, 188, 212 Invisible Hand, Th e , 6, 13, 20–2 bin Laden, Osama, 21, 22 Junk: Th e Golden Age of Debt , 6, 26–30 Birth of Tragedy, Th e (Nietzsche), 127 early life and family infl uences, 10–11, 15 Blood and Gift s (Rogers), 2, 6, 178–83, 184 War Within, Th e , 11–12 Blue Bonnet State (Norris), 132 Who & the What, Th e , 7–8, 9, 13, 22–6 Bond, Edward, 190 Albee, Edward, 149, 169, 186 Boom Boom Boom Boom (Guirgis), 59 Alexie, Sherman, 106 Bosch, Hieronymus, 103 Als, Hilton, 124, 128 Brantley, Ben, 29, 64, 68, 71, 177, 188, 196, 203, 207, 215 Alsop, Joseph, 47–53 Breasts of Tiresias, Th e , (Apollinaire), 103 -
Journalist Jensen Cites Westmoreland and Sharon in Lecture Dean
swssnacstssc WOMBIWaCW^IMM^iMMM^IMM^^ Long-Distance Letter "Other Views" Letter Advice From Montana Advice to USG page 8 page 8 Volume 6, Number 4 College At Lincoln Center, Fordham University, New York March 6-March 26, 1985 University Clericals Dean Search Committee Prepare For Spring BeginsWork By Marie Reres other times, you have to beat the bushes to find Negotiations somebody who can hit the long ball." One of the constraints that the committee is The Search Committee to select a new dean for By Robert Dunne than Fordham. He added that the Fordham-Local the College at Lincoln Center is "still in the working under is that Dean Shea's resignation will 153 contract seemed to be the model to which the preliminary stage" according to Acting Vice Presi- take effect on July 1. "We have to honor that date Clerical staff and the University administrative other Local 153 memberships aspired. Since the dent for Academic Affairs and head of the com- because Dean Shea has given long and noble ser- council are preparing for upcoming negotiations last contract was signed in 1982, Fordham clericals mittee, the Rev. Richard E. Doyle, S.J. The Search vice as dean and it would be unfair to ask him to slated to begin later this semester. Both? sides have had increases of 9 percent in 1982 and 8 per- Committee held its first meeting on February 22. stay past that date because we haven't finished our appear to have different priorities of issues to cent in 1983 and '84. Fr. -
Representations of Female Violence and Aggression in Joyce Carol O
ABSTRACT WEISSBERG, SARAH BUKER. In the Shadow of the Vamp: Representations of Female Violence and Aggression in Joyce Carol Oates’s Fiction. (Under the direction of Barbara Bennett.) Recently, feminist scholars have become interested in demystifying female initiated aggression and violence and in examining how women experience, express, and understand their own aggression. This study considers how author Joyce Carol Oates has contributed to that particular line of inquiry by publishing four specific short stories: “The Vampire,” “Lover,” “Gun Love,” and “Secret, Silent.” Chapter 1 of this thesis defines the archetype of the Lethal Woman, an archetype which embodies negative cultural conceptions of female violence and aggression. This chapter identifies Lethal Women figures from folklore, fiction, and film throughout the ages and then examines “The Vampire,” a story in which Oates exposes the sexism and androcentric motives behind the ongoing creation and reinforcement of the Lethal Woman archetype. Chapter 2 focuses on the stories “Lover,” “Gun Love,” and “Secret, Silent” and discusses how in these works, Oates explores the psychological impulses behind female initiated violence, passive aggression, and other subversive methods utilized by women for handling their aggression. This second chapter also contrasts Oates’s depictions of female violence/aggression against depictions of female violence/aggression in the contemporary popular media and concludes that Oates’s stories offer a refreshingly realistic alternative to historical and contemporary Lethal Woman narratives. In the Shadow of the Vamp: Representations of Female Violence and Aggression in Joyce Carol Oates’s Fiction by Sarah Buker Weissberg A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Master of Arts ENGLISH Raleigh 2005 APPROVED BY: _________________________________ ________________________________ Dr.