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Seman 1 Dickens Against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A
Seman 1 Dickens against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A Thesis Presented to the Honors Tutorial College Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the Degree of Bachelor of Arts in English by Taylor J. Seman June 2011 Seman 2 This thesis has been approved by The Honors Tutorial College and the Department of English __________________________ Dr. Carey Snyder Associate Professor, English Thesis Advisor and Director of Studies ___________________________ Dr. Jeremy Webster Dean, Honors Tutorial College Seman 3 Table of Contents Introduction…………………………………………………………………………….4 Chapter One: Transgressive Characters………………………………………………..9 Chapter Two: Idealized Characters…………………………………………………...28 Chapter Three: Female Power in Unusual Places…………………………………….45 Conclusion…………………………………………………………………………....56 Bibliography…………………………………………………………………………..58 Seman 4 Introduction Charles Dickens certainly cannot be considered a participant in a precursory movement towards feminism; in fact, many of Dickens‘s novels uphold traditional ideas about femininity and punish the usurpation of male privilege. In Bleak House, Hard Times, and Great Expectations—the three novels that form the basis of this study—Dickens punishes characters who transgress gender norms (such as Mrs. Jellyby, Louisa, and Mrs. Joe) both through explicit condemnation by the narrator and the adversity that befalls them in the plot. These characters have been created to appear ridiculous, no matter their accomplishments in the community or in the world at large. Yet in these same novels, Dickens presents a socially relevant depiction of female power and agency that subverts the sexism he exhibits in the creation and punishment of other characters. -
Ed Reardon Download Mp3
Ed reardon download mp3 CLICK TO DOWNLOAD Meet Ed Reardon, author, pipe smoker, consummate fare-dodger and master of the abusive email, trying to survive in a world where the media seems to be run by idiots and charlatans. Available episodes of Ed Reardon's Week. There are currently no available episodes. Related Content. Ed Reardon (played by Christopher Douglas) is a failed writer, fare-dodger and master of the abusive email. Living with his cat in a one-bedroom flat, this bearded divorcee grumbles at a modern world seemingly run by year-olds, while churning out books such as Jane Seymour's Household Hints and Pet Peeves (to pay the bills) and trying to Reviews: Ed Reardon (played by Christopher Douglas) is a failed writer, fare-dodger and master of the abusive email. Living with his cat in a one-bedroom flat, this bearded divorcee grumbles at a modern world seemingly run by year- olds, while churning out books such as Jane Seymour's Household Hints and Pet Peeves (to pay the bills) and trying to live off the royalties of his episode of Tenko. Ed Reardon, author, pipe smoker, consummate fare-dodger and master of the abusive email, attempts to survive in a world where the media seems to be run by idiots and lying charlatans. In these six episodes, Ed and Mary Potter are in a record breaking second month of partnership 'bliss'. But work isn. Сервис электронных книг ЛитРес предлагает скачать аудиокнигу Ed Reardon's Week The Complete Seventh Series, Andrew Nickolds в формате mp3 или слушать онлайн! Скачивайте и слушайте лучшие аудиокниги. -
Radio's War Lifeline News New Creative Radio Formats
1940s Radio’s War With the television service closed for the duration, it was radio’s war and the BBC nearly lost it in the opening skirmishes. Listeners wrote in to complain about the new Home Service, which had replaced the National and Regional programme services. There was criticism of too many organ recitals and public announcements. But the BBC had some secret weapons waiting in the wings. Colonel (‘I don’t mind if I do’) Chinstrap and Mrs (‘Can I do yer now, sir?’) Mopp were just of the two famous characters in Tommy Handley’s It’s That Man Again (ITMA) team. The comedian attracted 16 million listeners each week to the programme. This, and other popular comedy shows like Hi, Gang!, boosted morale during the war. Vera Lynn’s programme Sincerely Yours (dismissed by the BBC Board of Governors with the words: "Popularity noted, but deplored.") won her the title of "Forces’ Sweetheart”. In 1940 the Forces programme was launched for the troops assembling in France. The lighter touch of this new programme was a great success with both the Forces and audiences at home. After the war it was replaced by the Light Programme which was modelled on the Forces Programme. Distinguished correspondents, including Richard Dimbleby, Frank Gillard, Godfrey Talbot and Wynford Vaughan- Thomas, helped to attract millions of listeners every night with War Report, which was heard at the end of the main evening news. We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets…we shall never surrender. -
Broadcasting in the UK and US in the 1950S
Broadcasting in the UK and US in the 1950s Broadcasting in the UK and US in the 1950s: Historical Perspectives Edited by Jamie Medhurst, Siân Nicholas and Tom O’Malley Broadcasting in the UK and US in the 1950s: Historical Perspectives Edited by Jamie Medhurst, Siân Nicholas and Tom O’Malley This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Jamie Medhurst, Siân Nicholas, Tom O’Malley and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8899-0 ISBN (13): 978-1-4438-8899-8 CONTENTS Contributors ............................................................................................... vii Editors ........................................................................................................ ix Acknowledgements .................................................................................... xi List of illustrations .................................................................................... xiii Chapter One ................................................................................................. 1 Introduction Jamie Medhurst and Tom O’Malley Chapter Two ............................................................................................... -
Brotherly Relations: Self and (M)Other in Conjoined Twin Films
Brotherly Relations: Self and (M)Other in Conjoined Twin Films Juliana de Nooy and Bronwyn Statham, University of Queensland, Australia; Griffith University, Australia Prompting fascination and fear since mythological times, twins continue to haunt our imagination. Identical, non-identical, conjoined, mutant, telepathic, homicidal, buddies, soul- mates or jealous rivals, twins feature in scores of films across a range of genres; comedy, drama, thriller, horror, sci-fi, action and auteur cinema. Amidst this apparently infinite variety, however, insistent patterns occur (De Nooy and Statham, 1998). In this paper we focus on a particular sub-set of twin films -- recent horror films featuring male conjoined twins -- to show some surprising regularities of representation. Specifically, these narratives of fraternal attachment and separation represent the twin relation as maternal. Our aim is twofold, to demonstrate this striking pattern (in our analysis of Dead Ringers, Basket Case I and II, an episode of The X-Files, and The Dark Half) and to account for it. We argue that existing work on the representation of the body in contemporary horror only partially explains the emergence of this phenomenon, and that the pattern needs to be understood as a highly specific configuration of genre (horror), gender (male) and topos (conjoined twins) that lends itself to the rehearsal of a cultural anxiety regarding gender (male maternity). The discursive power of this configuration is demonstrated in our reading of Twin Falls Idaho. This film is not in the horror genre, and it repeatedly uses the metaphor of marriage, rather than motherhood, to describe conjoined twins Francis and Blake’s relationship. -
Bbc Radio 4 - Contacts for Programme Ideas
BBC RADIO 4 - CONTACTS FOR PROGRAMME IDEAS LONDON DEPARTMENT NAME & JOB TITLE CONTACT DETAILS Factual (includes science Ruth Gardiner Room 7015, Old Broadcasting House, Portland Place, London, W1A 1AA programmes, 9 o’clock Head of Factual, R&M Production programmes, Woman’s Hour, [email protected] Saturday Live and other weekly factual programmes) Current Affairs and Hugh Levinson 04B NBH, New Broadcasting House, Portland Place, London, W1A 1AA Business Programmes Executive Editor [email protected] Rob Ketteridge Room 8015, Old Broadcasting House, Portland Place, London, W1A 1AA Arts & Documentaries Head of Arts, Documentaries & Drama [email protected] R&M Production Information on submitting original drama scripts can be found on the writersroom website. Drama If you would like to propose a programme idea, please see the individual contacts listed under “Regions”. Information on submitting original narrative comedy scripts can be found on the writersroom website. Comedy If you would like to propose a programme idea, please contact: Jonathan Coates Ist Floor Grafton House, 379-381 Euston Rd, London, NW1 3AU Production Management Assistant [email protected] Martin Rosenbaum BBC Westminster, 6th Floor, 4 Millbank Building West, SW1P 3JA Political Programmes Editor [email protected] Graeme Reid-Davies 1st floor, Quay House, MediaCityUK, Salford, M50 2LH Sport Executive Editor [email protected] Updated June 2015 (LL) 1 THE REGIONS REGION DEPARTMENT NAME & JOB TITLE CONTACT DETAILS Julian Hector Room 31, -
V1 Last Updated by LL 19.02.21 BBC Radio Commissioning Brief V1.1 2021 01 19
V1 last updated by LL 19.02.21 BBC Radio Commissioning Brief_v1.1_2021 01 19 CONTENTS SECTION A: RADIO 4 and DRAMA .................................................................................................. 3 SECTION B: COMMISSIONING OPPORTUNITIES .................................................................. 8 SECTION C: COMMISSIONING TIMETABLE ........................................................................... 15 SECTION D: COMMISSIONING PROCESS ............................................................................... 16 STAGE 1: SHORT PROPOSAL .................................................................................................. 16 STAGE 2: FULL PROPOSAL ...................................................................................................... 17 STAGE 3: CONDITIONAL COMMISSION AWARDED .......................................................... 20 2 of 21 BBC Radio Commissioning Brief_v1.1_2021 01 19 SECTION A: RADIO 4 and DRAMA Introduction Mohit Bakaya, Controller Another year, another commissioning round. Except, of course, it is not really like any other year. We go into this round in the midst of a global pandemic that has caused 100,000 deaths, dramatically altered our everyday lives and is forcing us to question many of our assumptions about the modern world and the way our society should work. Hopefully, by the time the ideas you pitch to us land in the schedule, we will be beyond the earth-shaking intensity of the virus but we will still be feeling the aftershocks. Then there -
David Sedaris: Me Talk Pretty One Day ME TALK PRETTY ONE DAY
david sedaris: Me talk pretty one day ME TALK PRETTY ONE DAY ANYONE WHO WATCHES EVEN THE SLIGHTEST amount of TV is familiar with the scene: An agent knocks on the door of some seemingly ordinary home or office. The door opens, and the person holding the knob is asked to identify himself. The agent then says, "I'm going to ask you to come with me." They're always remarkably calm, these agents. If asked "Why do I need to go anywhere with you?" they'll straighten their shirt cuffs or idly brush stray hairs from the sleeves of their sport coats and say, "Oh, I think we both know why." The suspect then chooses between doing things the hard way and doing things the easy way, and the scene ends with either gunfire or the gentlemanly application of handcuffs. Occasionally it's a case of mistaken identity, but most often the suspect knows exactly why he's being taken. It seems he's been expecting this to happen. The anticipation has ruled his life, and now, finally, the wait is over. You're sometimes led to believe that this person is actually relieved, but I've never bought it. Though it probably has its moments, the average day spent in hiding is bound to beat the average day spent in prison. When it comes time to decide who gets the bottom bunk, I think anyone would agree that there's a lot to be said for doing things the hard way. The agent came for me during a geography lesson. -
Chapter 3 Poetics of the Shipping Forecast
chapter 3 Poetics of the Shipping Forecast Sanna Nyqvist Abstract This essay investigates the intertextual manifestations of radio shipping forecasts in fiction, poetry and non- fiction from the United Kingdom, Ireland, Sweden and Finland. The literary adaptations and appropriations of the functional meteor- ological report often retain its peculiar melodic character that results from the compressed, elliptic listing of observations or warnings. In the listening experience evoked by many authors the relative safety of the radio listener’s everyday surround- ings contrasts with the threat of gales and harsh conditions for seafarers. A compar- ative analysis shows that despite the insularity of the shipping forecast as a cultural phenomenon, the “literature of the shipping forecast” is surprisingly similar in dif- ferent countries, exploring the same themes of nostalgia, loss of signification and definition of borders. The essay also investigates how the shipping forecast inevitably evokes questions of territorial conquest and exclusion of others, and how its literary adaptations tend to bracket the natural phenomena that are the very raison d’être of the shipping forecast. The shipping forecast is a curious radio broadcast. Issuing gale warnings for seafarers and communicating weather information from coastal stations, it is reminiscent of a time when reliable and up- to- date weather reports were avail- able only through radio. Nowadays, professional mariners as well as pleasure boaters get the necessary weather information through modern wireless tech- nologies, and the shipping forecast has become a relic in the radio’s programme schedule. Most of the avid listeners to the radio’s shipping forecast do not need the information it conveys: they are safely situated inland, far away from the rough seas and gushing winds. -
Lloyd, Justine. "Listening to the Listener: Constructing Woman's
Lloyd, Justine. "Listening to the Listener: Constructing Woman’s Hour at the BBC, 1946–1955." Gender and Media in the Broadcast Age: Women’s Radio Programming at the BBC, CBC, and ABC. New York,: Bloomsbury Academic, 2020. 97–136. Bloomsbury Collections. Web. 3 Oct. 2021. <http://dx.doi.org/10.5040/9781501318801.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 3 October 2021, 20:25 UTC. Copyright © Justine Lloyd 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. 5 Listening to the Listener: Constructing Woman’s Hour at the BBC, 1946–1955 Here, with my hand on the latch, I am two persons. I am the woman with the basket, the passer-by in the street, Unnoticed, anonymous, an infinitesimal part Of a great multitude that, with purposeful feet Plodding the pavements, streams on perpetually Into the abyss of time past. One person: I have only to push the gate open, And, in a step, I shall be wholly that other; For here, where so small a plot contains a world, I have a face, a name; I am wife and mother, Blessedly beloved. The stored years wait in the house, And as I cross the threshold, their warm sweet breath Will welcome me again into that happy bondage Intangible as the hearth smoke, and stronger than death. With familiar incompetent click the gate half-closes behind me, I have all things, I am myself, I have come home. -
Parade Scheduled for Friday Drama Group to Return to Autry House
& asi • H! .'J pns pee iffl ion ate Student Publication The Rice Institute km VOL. XX. HOUSTON, TEXAS, FRIDAY, SEPTEMBER 28, 1934 NO. 3 Girls' Tennis Club Rice YWCA Will To Organize Monday rise Hold Campus Picnic Owl Mentor Bears Down "Shirt-Tail" Parade Tennis enthusiasts are invited to at- On October 1, Monday, the Rice Y. In Preparing Squad For tend the first meeting of the Rice Girls' For Band Fans W. C. A. will hold the first meeting Tennis Club for this term in A.B. 311 of the year in the form of a picnic. All Scheduled For Friday at 1 p. m., Monday. Freshmen aie co-eds are invited to meet under the Highly Touted L.S.U. Team especially urged to attend; ability in At SMU Game trees on the campus where the May the game is not a requisite for mem- Fete is held each year. Everyone is bership, according to Kathryn Pear- to bring her own lunch and meet at Group Will Participate in Thrilling Punting Duel Expected When Bill Wallace and :i-jiffS Yell Leader John McWhirter and Soph President Frank son, president. 1 oclock. Smith Plan Big Affair at Rice Alternate Mondays are the days set Big Slime Parade Feme Bahs&ck, the National Secre- Abe Mickal Meet; Jess Fatheree, 'Ii:: ..... for regular meetings, and at each of Tonight tary of the Y. W. and Y. M. C. A., will 1933 Star, Is Injured. Hotel Corner these sessions special programs will be be present to give an address to all given explaining particular strokes and those present, The rest of the time Rice students will not know all about - Starting at the corner of Lamar and The outstanding event of the eve- other details of the game. -
The Power of Radio - Basic Skills Manual
The Power of Radio - Basic Skills Manual The Power of Radio Introduction Radio is very powerful because it reaches a huge audience quickly and because it allows the people in that huge audience to interact with one another more easily than television viewers or newspaper readers. There are different types of radio stations: community, commercial and public. They have different types of owners and audiences and different programming, but they share a common goal: to connect with the listener in a way that is immediate and relevant.Radio is powerful because it has the ability to reach and influence so many people. This module discusses the challenges faced in using such power responsibly. Radio is powerful because: Radio presents challenges because: It is immediate. News can be It is temporary. Stories often air only once, reported more quickly on radio so if the information is confusing or if you than in newspapers or on miss a point, it's difficult to get clarification. television, because the Radio reports need to be clearly and simply technology is simpler. written. And radio presenters and reporters It is accessible. You can tune in must take extra care to speak distinctly. to radio wherever you are. You can take a radio to the fields, or listen to it in a car. You can also do other things while you listen. It is inclusive. Radio can reach most people, including the poor, the marginalized and those who cannot read or write. At the end of this module, you should be aware that: (Some challenges that occur in Radio are bellow).