DOCSLIB.ORG

Classic Novels: Meeting the Challenge of Great Literature Parts I–III

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Classic Novels: Meeting the Challenge of Great Literature Parts I–III Classic Novels: Meeting the Challenge of Great Literature Parts I–III Professor Arnold Weinstein THE TEACHING COMPANY ® Arnold Weinstein, Ph.D. Edna and Richard Salomon Distinguished Professor of Comparative Literature, Brown University Born in Memphis, Tennessee in 1940, Arnold Weinstein attended public schools before going to Princeton University for his college education (B.A. in Romance Languages, 1962, magna cum laude). He spent a year studying French literature at the Université de Paris (1960−1961) and a year after college at the Freie Universität Berlin, studying German literature. His graduate work was done at Harvard University (M.A. in Comparative Literature, 1964; Ph.D. in Comparative Literature, 1968), including a year as a Fulbright Scholar at the Université de Lyon in 1966−1967. Professor Weinstein’s professional career has taken place almost entirely at Brown University, where he has gone from Assistant Professor to his current position as Edna and Richard Salomon Distinguished Professor of Comparative Literature. He won the Workman Award for Excellence in Teaching in the Humanities in 1995. He has also won a number of prestigious fellowships, including a Fulbright Fellowship in American literature at Stockholm University in 1983 and research fellowships from the National Endowment for the Humanities in 1998 (in the area of literature and medicine) and in 2007 (in the area of Scandinavian literature). In 1996, he was named Professeur Invité in American literature at the École Normale Supérieure in Paris. Professor Weinstein’s publications include the following: Vision and Response in Modern Literature (Cornell University Press, 1974), Fictions of the Self: 1550−1800 (Princeton University Press, 1981), The Fiction of Relationship (Princeton University Press, 1988), Nobody’s Home: Speech, Self and Place in American Fiction from Hawthorne to DeLillo (Oxford University Press, 1993), A Scream Goes Through the House: What Literature Teaches Us About Life (Random House, 2003), and Recovering Your Story: Proust, Joyce, Woolf, Faulkner, Morrison (Random House, 2006). He has just completed Northern Arts: The Breakthrough of Scandinavian Literature and Art from Ibsen to Bergman, to be published by Princeton University Press in 2008. His latest project is Literature and the Phases of Life: Growing Up and Growing Old, under contract with Random House, with an expected completion date of 2009. In addition to his career in teaching and writing, Professor Weinstein has produced a number of courses for The Teaching Company, including The Soul and the City: Art, Literature and Urban Life; Drama, Poetry and Narrative: Understanding Literature and Life; 20th-Century American Fiction; and American Literary Classics. ©2007 The Teaching Company. i Table of Contents Classic Novels: Meeting the Challenge of Great Literature Professor Biography.....................................................................................................................................................i Course Scope................................................................................................................................................................1 Lecture One Meeting the Challenge of Great Literature .........................................................................3 Lecture Two Defoe—Moll Flanders........................................................................................................6 Lecture Three Sterne—Tristram Shandy ...................................................................................................9 Lecture Four Laclos—Les Liaisons Dangereuses..................................................................................12 Lecture Five Laclos—Les Liaisons Dangereuses, Part 2.......................................................................14 Lecture Six Balzac—Père Goriot ........................................................................................................17 Lecture Seven Balzac—Père Goriot, Part 2.............................................................................................20 Lecture Eight Brontë—Wuthering Heights .............................................................................................23 Lecture Nine Brontë—Wuthering Heights, Part 2..................................................................................26 Lecture Ten Melville—Moby-Dick.......................................................................................................28 Lecture Eleven Melville—Moby-Dick, Part 2 ...........................................................................................31 Lecture Twelve Dickens—Bleak House.....................................................................................................34 Lecture Thirteen Dickens—Bleak House, Part 2..........................................................................................37 Lecture Fourteen Flaubert—Madame Bovary...............................................................................................40 Lecture Fifteen Flaubert—Madame Bovary, Part 2 ...................................................................................43 Lecture Sixteen Tolstoy—War and Peace..................................................................................................46 Lecture Seventeen Tolstoy—War and Peace, Part 2 ......................................................................................49 Lecture Eighteen Dostoevsky—The Brothers Karamazov ...........................................................................52 Lecture Nineteen Dostoevsky—The Brothers Karamazov, Part 2................................................................55 Lecture Twenty Conrad—Heart of Darkness .............................................................................................58 Lecture Twenty-One Mann—Death in Venice ...................................................................................................61 Lecture Twenty-Two Kafka—“The Metamorphosis” .........................................................................................64 Lecture Twenty-Three Kafka—The Trial..............................................................................................................67 Lecture Twenty-Four Proust—Remembrance of Things Past .............................................................................70 Lecture Twenty-Five Proust—Remembrance of Things Past, Part 2..................................................................73 Lecture Twenty-Six Proust—Remembrance of Things Past, Part 3..................................................................75 Lecture Twenty-Seven Joyce—Ulysses.................................................................................................................78 Lecture Twenty-Eight Joyce—Ulysses, Part 2......................................................................................................81 Lecture Twenty-Nine Joyce—Ulysses, Part 3......................................................................................................84 Lecture Thirty Woolf—To the Lighthouse ...............................................................................................87 Lecture Thirty-One Woolf—To the Lighthouse, Part 2....................................................................................90 Lecture Thirty-Two Faulkner—As I Lay Dying ................................................................................................93 Lecture Thirty-Three Faulkner—As I Lay Dying, Part 2.....................................................................................96 Lecture Thirty-Four García Márquez—One Hundred Yearsof Solitude............................................................99 Lecture Thirty-Five One Hundred Years of Solitude, Part 2...........................................................................102 Lecture Thirty-Six Ending the Course, Beginning the World .......................................................................106 Timeline....................................................................................................................................................................108 Glossary....................................................................................................................................................................111 Biographical Notes...................................................................................................................................................115 Bibliography.............................................................................................................................................................119 ii ©2007 The Teaching Company. Classic Novels: Meeting the Challenge of Great Literature Scope: The title of this course, Classic Novels, indicates the stature of the books we will cover. Beginning with Defoe and closing with García Márquez, our aim is to illuminate some of the most influential works of fiction in Western literature, yet works that challenge our sense of what a novel is, what it does, and why we have it. Those issues are represented in the subtitle of the course, Meeting the Challenge of Great Literature; our goal will be to grasp the intellectual ferment and power—social, emotional, and artistic—of these famous books. Hence, this course is more than a history of the novel; rather, it is a series of encounters with fictions that may be old but are far from dead. Our clichéd
Load more

Recommended publications
  • The Inventory of the Alvin Epstein Collection #1717
    The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph.
    [Show full text]
  • The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More Information
    Cambridge University Press 978-0-521-86424-4 - The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More information the cambridge companion to mario vargas llosa One of the major novelists in world literature over the last five decades, Mario Vargas Llosa (b. 1936) is also one of Latin America’s leading public intellectuals, a critic of art and culture, and a playwright of distinction. This Companion’s chapters chart the development of Vargas Llosa’s writings, from his rise to prominence in the early 1960s to the award of the Nobel Prize in Literature in 2010. The volume traces his literary trajectory, and the ways in which he has reinvented himself as a writer. His vast output of narrative fiction is the main focus, but the connections between his concerns as a creative writer and his rich career as a cultural and political figure are also teased out in this engaging, informative book. efraı´n kristal is Professor and Chair in Comparative Literature at UCLA. john king is Professor of Latin American Cultural History at the University of Warwick. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86424-4 - The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86424-4 - The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More information THE
    [Show full text]
  • The Cambridge Companion to Flaubert Edited by Timothy Unwin Frontmatter More Information
    Cambridge University Press 052189459X - The Cambridge Companion to Flaubert Edited by Timothy Unwin Frontmatter More information The Cambridge Companion to Flaubert This volume brings together a series of essays by acknowledged experts on Flaubert. It offers a coherent overview of the writer’s work and critical legacy, and provides insights into the very latest scholarly thinking. While a central place is given to Flaubert’s most widely read texts, attention is also paid to key areas of the corpus that have tended to be overlooked. Close textual analyses are accompanied by discussion of broader theoretical issues, and by a consid- eration of Flaubert’s place in the wider traditions that he both inherited and influenced. These essays provide not only a robust critical framework for read- ers of Flaubert, but also a fuller understanding of why he continues to exert such a powerful influence on literature and literary studies today. A conclud- ing essay by the prize-winning author Mario Vargas Llosa examines Flaubert’s legacy from the point of view of the modern novelist. The Companion includes an invaluable chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 052189459X - The Cambridge Companion to Flaubert Edited by Timothy Unwin Frontmatter More information THE CAMBRIDGE COMPANION TO FLAUBERT EDITED BY TIMOTHY UNWIN University of Bristol © Cambridge University Press www.cambridge.org Cambridge University Press 052189459X - The Cambridge Companion to Flaubert Edited by Timothy Unwin Frontmatter More information published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru, uk 40 West 20th Street, New York, ny 10011–4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2004 This book is in copyright.
    [Show full text]
  • Frank O'hara's Oranges : Poetry, Painters and Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2001 Frank O'Hara's oranges : poetry, painters and painting. Karen Ware 1973- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ware, Karen 1973-, "Frank O'Hara's oranges : poetry, painters and painting." (2001). Electronic Theses and Dissertations. Paper 1531. https://doi.org/10.18297/etd/1531 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky August 2001 FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Approved on by the following Reading Committee: Thesis MrectO'r 11 DEDICATION This thesis is dedicated to Clare Pearce, because I promised, and to Kyle, through all things. III ACKNOWLEDGMENTS Many amazing individuals have taken a seat in the roller coaster construction of this long-awaited project.
    [Show full text]
  • Instruction Manual and Adventurek1s Journal Table of Contents Limited Warranty Introduction
    INSTRUCTION MANUAL AND ADVENTUREK1S JOURNAL TABLE OF CONTENTS LIMITED WARRANTY INTRODUCTION ........... .. ... ..... ..... .... .......... ... .. ........... ... .. ... .. .......... ............ ............... .. ..... .... ....... .....1 Your Cjame Box Should Contain ..... .... .. .. .. .. ................... .. .. .. .... ....... .. ..... .. ... ....................................1 SSI MAKES NO WARRANTIES, EITHER EXPRESS OR IMPLIED, WITH RESPECT TO THE SOFlWARE PRO­ Transferring Characters from DEATH KNIQHTSO F KRYNN ............. .. .............. ............................ .. .......... .1 GRAM RECORDED ON THE DISKITTE OR THE GAME DESCRIBED IN THIS RULE BOOK, THEIR QUALITY, Before You Play ..................... ................... ..................................................... .... .......... ............................1 PERFORMANCE, MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE. THE PROGRAM (jetting Started Quickly ......... ..... ........... .. ........................................................................ .. .. .................... 1 Using Menus ......... .. .... .. ............ .. ................................................................................... ................. ........1 AND GAME ARE SOLD 'AS IS.' THE ENTIRE RISK AS TO THEIR QUALITY AND PERFORMANCE IS WITH THE BUYER. IN NO EVENT WILL SSI BE LIABLE FOR DIRECT, INDIRECT, INCIDENTAL, OR CONSEQUEN­ BEQINNIN(j TO PlAY ................ .... .. .............. .. ........ .. ...... .. ........................... .. .............................
    [Show full text]
  • Singing in English in the 21St Century: a Study Comparing
    SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training.
    [Show full text]
  • Introduction to Madame Bovary Chris Kraus Barnes and Noble Classics
    Introduction to Madame Bovary There is Emma herself, whose suffering never Chris Kraus opens her eyes to the misfortunes of others. Her Barnes and Noble Classics , 2005 affairs, and her two lovers themselves, Rodolphe (the seducer) and Leon (the poet of adultery), A joke is the most powerful thing there is, the prove to be equally untrustworthy and most terrible: it is irresistible. Great pity for disappointing. There is Lheureux, the usurious people who believe in the seriousness of life. loan-shark and salesman, and a large cast of --Gustave Flaubert, Intimate Notebooks pompous officials and idiot villagers. In a novel that is so technically modern and ground- What Is Reality? breaking, it is interesting to note that Flaubert Flaubert has often been credited as being the draws on the medieval slapstick tradition of Father of Realism. Madame Bovary , his first and naming his characters after their foibles: the most classically plot-driven novel, has been Mayor Tuvache ("you cow," in translation); the labeled as "realist" because of--as many critics booster-ish technocrat Homais ("what man could would have it--the author's choice to depict be": "homme," the noun "man," cast, like a verb, "mediocre" and "vulgar" protagonists circling in the future conditional tense); and Lheureux, the around a subject as "trite" as adultery. Like much purveyor of expensive false dreams, his name criticism, these readings tell us a great deal more taken from the French word for "happiness." about the critics than the novel. Implicit in such Finally, it is the very idea that romantic love could statements are the assumptions (a) that there is be conducive to happiness that is most deeply anything "trite" about the conflict between human discredited.
    [Show full text]
  • Flaubert's Provocation
    Text Matters: A Journal of Literature, Theory and Culture Number 7 Drama, Performance, Media / Emma Article 3 & Edvard October 2017 Flaubert’s Provocation Jonathan Culler Cornell University Follow this and additional works at: https://digijournals.uni.lodz.pl/textmatters Recommended Citation Culler, Jonathan. "Flaubert’s Provocation." Text Matters: A Journal of Literature, Theory and Culture, no.7, 2020, pp. 55-70, doi:10.1515/texmat-2017-0003 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Text Matters: A Journal of Literature, Theory and Culture by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Text Matters, Volume 7, Number 7, 2017 DOI: 10.1515/texmat-2017-0003 Jonathan Culler Cornell University Flaubert’s Provocation A BSTR A CT Madame Bovary, which was scandalous in its own day for its focus on the adultery of a provincial woman, has had a strange, complex fate. Flaubert remade the image of the novelist, as pure artist, for whom style was all that mattered, and disrupted novelistic technique, in ways that critics and writers have found exemplary, treating this as the novel novelists cannot overlook; yet for readers Madame Bovary is not a “book about nothing” but provides a searing portrait of provincial life and of the condition of women. The vividness and complexity of the character Flaubert created here made Emma a type: a sufferer of “Bovarysme.” Flaubert’s revolution- ary notion that a trivial subject was as good as a noble subject for a serious novel was taken to be connected to the democratic notion that every hu- man subject is as worthy as another and allowed to have desires.
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • Ancient Carved Ambers in the J. Paul Getty Museum
    Ancient Carved Ambers in the J. Paul Getty Museum Ancient Carved Ambers in the J. Paul Getty Museum Faya Causey With technical analysis by Jeff Maish, Herant Khanjian, and Michael R. Schilling THE J. PAUL GETTY MUSEUM, LOS ANGELES This catalogue was first published in 2012 at http: Library of Congress Cataloging-in-Publication Data //museumcatalogues.getty.edu/amber. The present online version Names: Causey, Faya, author. | Maish, Jeffrey, contributor. | was migrated in 2019 to https://www.getty.edu/publications Khanjian, Herant, contributor. | Schilling, Michael (Michael Roy), /ambers; it features zoomable high-resolution photography; free contributor. | J. Paul Getty Museum, issuing body. PDF, EPUB, and MOBI downloads; and JPG downloads of the Title: Ancient carved ambers in the J. Paul Getty Museum / Faya catalogue images. Causey ; with technical analysis by Jeff Maish, Herant Khanjian, and Michael Schilling. © 2012, 2019 J. Paul Getty Trust Description: Los Angeles : The J. Paul Getty Museum, [2019] | Includes bibliographical references. | Summary: “This catalogue provides a general introduction to amber in the ancient world followed by detailed catalogue entries for fifty-six Etruscan, Except where otherwise noted, this work is licensed under a Greek, and Italic carved ambers from the J. Paul Getty Museum. Creative Commons Attribution 4.0 International License. To view a The volume concludes with technical notes about scientific copy of this license, visit http://creativecommons.org/licenses/by/4 investigations of these objects and Baltic amber”—Provided by .0/. Figures 3, 9–17, 22–24, 28, 32, 33, 36, 38, 40, 51, and 54 are publisher. reproduced with the permission of the rights holders Identifiers: LCCN 2019016671 (print) | LCCN 2019981057 (ebook) | acknowledged in captions and are expressly excluded from the CC ISBN 9781606066348 (paperback) | ISBN 9781606066355 (epub) BY license covering the rest of this publication.
    [Show full text]
  • Icelandic Folklore
    i ICELANDIC FOLKLORE AND THE CULTURAL MEMORY OF RELIGIOUS CHANGE ii BORDERLINES approaches,Borderlines methodologies,welcomes monographs or theories and from edited the socialcollections sciences, that, health while studies, firmly androoted the in late antique, medieval, and early modern periods, are “edgy” and may introduce sciences. Typically, volumes are theoretically aware whilst introducing novel approaches to topics of key interest to scholars of the pre-modern past. iii ICELANDIC FOLKLORE AND THE CULTURAL MEMORY OF RELIGIOUS CHANGE by ERIC SHANE BRYAN iv We have all forgotten our names. — G. K. Chesterton Commons licence CC-BY-NC-ND 4.0. This work is licensed under Creative British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. © 2021, Arc Humanities Press, Leeds The author asserts their moral right to be identi�ied as the author of this work. Permission to use brief excerpts from this work in scholarly and educational works is hereby granted determinedprovided that to thebe “fair source use” is under acknowledged. Section 107 Any of theuse U.S.of material Copyright in Act this September work that 2010 is an Page exception 2 or that or limitation covered by Article 5 of the European Union’s Copyright Directive (2001/ 29/ EC) or would be 94– 553) does not require the Publisher’s permission. satis�ies the conditions speci�ied in Section 108 of the U.S. Copyright Act (17 USC §108, as revised by P.L. ISBN (HB): 9781641893756 ISBN (PB): 9781641894654 eISBN (PDF): 9781641893763 www.arc- humanities.org print-on-demand technology.
    [Show full text]
  • Page 1 MMD Resume, 2020 1
    M A R C I A M I L G R O M D O D G E SDC Director & Choreographer, Teacher Tony Award Nominated Freelance Director and Choreographer of classic and world premiere plays and musicals with a track record of success working in Broadway, Off-Broadway, Regional, Summer Stock and University venues in the United States and Abroad. I am committed to the principles of Equity, Diversity and Inclusion. I recognize that every person, organization, and community is unique. I listen carefully, discuss options, seek to understand, and endeavor to build accord so that every interaction with staff, artists and students is a learning opportunity. --------------------------- Skills --------------------------- • Director • Lecturer • Choreographer • Master Instructor • Teacher • Consultant • Playwright • Strong Leader --------------- Complete Professional Experience ------------- I approach revivals as if they are new works and I bring extensive knowledge of classical form and structure to my collaborations with new writers. I work in large venues from 11,000-seat outdoor theatres to tiny venues such as 60-seat black box theatres 2020 SHERLOCK HOLMES & THE WEST END HORROR, A Radio Drama, Co-Author, ©2001, 2020 www.allclassical.org/Broadway Rose Theatre, Portland, OR, Broadcast Dates: 10/1 & 2, 10/30 & 31 BUDDY THE BUDDY HOLLY STORY, Director & Choreographer, Cincinnati Playhouse in the Park DISNEY+ ENCORE! with Kristen Bell, “Theatre Director” S1/Ep1 Annie and S1Ep12Ragtime https://disneyplusoriginals.disney.com/show/encore **Five 2020 stage productions postponed
    [Show full text]