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SPEAKER Game." SEE REGULAR GAME Ond Win," Says Be Beaten Next Time T
- m,X W ' ittj m- .. - vi --iJit ) r ""Vr .; 18 THE WASHINGTON TBIES; stJNDAY; QC7TOBER, 10. 195. ', ,"; ; 7 ; ; r Gilmore Sees Real Game and Starts Rumors Alexander Will Twirl Tomorrow 1 '", 'J' .J ; . ,"i : : " - , GILMORE WANTS 10 Says "Foster Deserves "Rlfler's Blander In All Credit, and He Got Crucial Place Hurt Our Says Alexander Will It, Too, After the Sec- - Chances Materially to MORAN SPEAKER Game." SEE REGULAR GAME ond Win," Says Be Beaten Next Time t BY: BIG LEAGUERS Red Sox Outfielder Says Twirler fooled Them on the Phillies' Manager Offers No Sign of Alibi and Will Red Sox Manager Claims His Boys Are Just Hitting, Mound and Then Beat Them With His Flail Ad-mi- ts Send Alexander After the Scalps of Enemy To- the Stride and Are Sure to Win the Series. That Erskine Mayer. Proved Bother- morrow When Braves' Field Sees the Moran's Lads Are Not Downcast - $o He Visits Philadelphia, Stops some on Hill. World's Series Battle. at Bellevue, and Starts the PHILADELPHIA, Oct. 10.-"- now on watch our amoke. "Rumor Mongers. By TRIS We are after SPEAKER. By PAT MORAN, I them and wHI never let up until the The Standings. PHILADELPHIA, Oct. 10-F- os- that park until the last man Is out. If Some people may think I am feat, and taking It nut of the umpire. series is clinched," waa the optimistic a hitter drifts one over the wall, which I am Just trylns to show where tho view taken by Manager Carrigan of ter was the hero of the game yes- Is not hard, club Is right hunting for say the Phillies Red Sox. -
Rachel Prusko
Becoming Youth: Coming of Age in Shakespeare and Marlowe by Rachel Prusko A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies University of Alberta © Rachel Prusko, 2014 Abstract While studies in Renaissance childhoods, literary and historical, are becoming more prominent, this work has failed to distinguish between children and adolescents, leaving youth, as such, largely unexamined. My project attends not to the children of early modern drama, but to post-pubescent characters in their teen years, and argues that many plays literalize the ‘re-naissance’ of teenagers (‘adolescents’ or ‘youths’ in early modern England), reimagining what it meant to be young during a period when discourses surrounding youth were already clearly, yet crudely, defined. This thesis is a historicized analysis of young characters in several plays: Marlowe’s Edward II, and Shakespeare’s The Merry Wives of Windsor, Henry IV, Part 1, Henry IV, Part 2, Henry V, Romeo and Juliet, Pericles, The Winter’s Tale, and The Tempest. I argue that these plays intervene in the standard definitions so frequently applied to teenagers during the early modern period. The perception, on the one hand, of youthful behavior as violent, reckless, and rash was commonplace: Protestant preachers and moralists of the day insisted that young people were naturally prone to sin, rebelliousness, and unruly behavior, and so required strict regulation. On the other hand, optimistic portrayals of youth abounded as well: the age of youth was associated with hope and beauty as often as it was with folly and sin. -
1St Connection Between Baseball and Opera
Baseball & Opera (compiled by Mark Schubin, this version posted 2014 April 14) 1849 : 1 st connection between baseball and opera: Fans of American actor Edwin Forrest, who is playing Macbeth in New York, hire thugs from among ballplayers at Elysian Fields in Hoboken, New Jersey (1 st famous ball field) to disrupt performances of British actor William Macready, also playing Macbeth in New York at what had been Astor Opera House. Deadly riot ensues; Macready is rescued by ex-Astor Opera House impresario Edward Fry, who later (1880) invents electronic home entertainment (and probably headphones) by listening to live opera by phone. 1852: Opera-house exclusivity dispute with composer’s niece Johanna Wagner forms legal basis of baseball’s reserve clause. 1870 : Tony Pastor’s Opera House baseball team is covered by The New York Times (they won). 1875 : San Francisco Chronicle reports on that city’s opera-house baseball team. 1879 : Pirate King role created for Signor Brocolini, who, as John Clark, played first base for the Detroit Base Ball Club. 1881 : Dartmouth College opera group performs to raise money for college’s baseball team. 1884 : Three telegraph operators, James U. Rust, E. W. Morgan, and A. H. Stewart, present live games remotely. One sends plays from ballpark, second receives and announces, third moves cards with players’ names around backdrop. Starting in Nashville’s 900-seat Masonic Theater, they soon move to 2,500-seat Grand Opera House, beginning half-century of remote baseball game viewing at opera houses (also Augusta, GA Grand Opera House starting 1885). 1885 : The Black Hussar is probably 1 st opera with baseball mentioned in its libretto (in “Read the answer in the stars”). -
Gender and Sexuality in Adaptations of Shakespeare Organizer: Deanne Williams, York University
SAA Seminar: Gender and Sexuality in Adaptations of Shakespeare Organizer: Deanne Williams, York University. 1. The Fiendlike Queen: Recuperating the Feminine in Modern Adaptations of Macbeth William C. Carroll Boston University Terry Eagleton’s notorious comment – “To any unprejudiced reader – which would seem to exclude Shakespeare himself, his contemporary audiences and almost all literary critics – it is surely clear that positive value in Macbeth lies with the three witches. The witches are the heroines of the piece, however little the play itself recognizes the fact” (William Shakespeare, p. 2) – is just one of many attempts in recent decades to recast the witches in a more positive light, an effort that has had considerable success. Lady Macbeth has proven to be a harder case to rehabilitate, at least on the stage (as seen recently in Kate Fleetwood’s harrowing depiction with Patrick Stewart in Rupert Goold’s version). In adaptations of the past century, however, especially those written by women and those for younger readers, a very different picture of the “fiend-like queen” has emerged. These representations move far away from earlier texts in which “Lady Macbeth” is little more than a synonym for a murderous woman. Several recent works instead seek explanation or rationale for her participation in Duncan’s murder through reference to her earlier marriage and son by that marriage (both suppressed in Shakespeare’s play), to her situation as a woman in a culture of Celtic masculinity, and even to a supposed daughter (Klein) with whom Lady Macbeth (not dead in this version!) is ultimately reunited. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
QUEER SURVIVAL VIA EARLY MODERN DRAMA By
ADAPTED BODIES, ADAPTED TEXTS: QUEER SURVIVAL VIA EARLY MODERN DRAMA By Kristen Navarro Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirement for the degree of DOCTOR OF PHILOSOPHY in English August 11, 2017 Nashville, Tennessee Approved: Katherine Crawford, Ph.D. Lynn Enterline, Ph.D. Leah Marcus, Ph.D. Kathryn Schwarz, Ph.D. To my parents, Mike and Dania, for making this all possible, & To Natalie and Cinthia, for keeping me sane. ii ACKNOWLEDGEMENTS This work would not have been possible without the incredible support and resources offered to me by the graduate students, faculty, and staff members of Vanderbilt University’s Department of English. I have learned and grown more over the course of my time here than I ever could have imagined possible, and I am endlessly grateful. I am especially indebted to my wonderful committee, each of whom have stuck by me and made every step of this process more generative and free of anxiety than I ever could have managed on my own: Professors Kathryn Schwarz, Leah Marcus, Lynn Enterline, and Katherine Crawford. This project would have never come together without the vibrant discussion and inspirational mentorship you all provided me with. There isn’t enough page space in the world to give you all the thanks that you deserve. I would be remiss to not extend the utmost gratitude to the lovely support network of friends that have talked me through many a rant and a cry over the past several years: Cinthia Benitez, Joseph Jordan, Shelby Johnson, Chelsea Land, Tatiana McInnis, and Steven Orta. -
An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet
“WITH A KISS I DIE” Love, Suicide and Vulnerability: An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet Raquel Álvarez- Riera Escandón Main supervisor: Domitilla Olivieri (Utrecht University) Support supervisor: María del Carmen Pérez Riu (Universidad de Oviedo) Utrecht University Faculty of Humanities GEMMA Program June 2018 “WITH A KISS I DIE” Love, Suicide and Vulnerability: An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet Raquel Álvarez- Riera Escandón Main supervisor: Domitilla Olivieri (Utrecht University) Support supervisor: María del Carmen Pérez Riu (Universidad de Oviedo) Approval signed main supervisor: Utrecht University Faculty of Humanities GEMMA Program June 2018 " W I T H A K I S S I D I E " LOVE, SUICIDE AND VULNERABILITY An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet Raquel Álvarez-Riera Escandón/ Utrecht University/ GEMMA Master Thesis / June 2018 ABSTRACT Deconstructing the myths that characterize the romantic love discourse has been a major goal for several feminist theorists since these narratives actively promote asymmetrical power relationships. From this hierarchy, gender inequalities —which are especially harmful to women—emerge. Nonetheless, this discrimination does not only take place in relation to gender but also regarding race and sexuality. Hence, this study aims to analyse from a feminist and intersectional perspective the oppressive character of romantic love narratives in terms of gender, race and sexuality. The focus will be put particularly in contemporary film adaptations of the canonical play Romeo and Juliet —which is a cornerstone love story in western culture— emphasizing the importance of representations in mass media by pointing at the potential influence that they exercise on the viewers. -
Yearbook 14 Nl
Brooklyn surprises in 1914 National League replay Dodgers edge Cardinals by two games in hard-fought race 2 1914 National League Replay Table of Contents Final Standings and Leaders 3 Introduction 4-6 1914 NL pennant race recap 7-13 Inside the pennant race 14-19 NL All-Star team and NL standouts 15-28 Team totals 29 Leaders: batting, pitching, fielding 30-33 Individual batting, pitching, fielding 34-42 Pinch-hitting 43-45 Batting highlights and notes 46-54 Pitching highlights and notes 55-60 Pitchers records v. opponents 62-63 Fielding highlights 64-66 Injuries, ejections 67 Selected box scores 68-75 Scores, by month 76-87 3 1914 National League Final Standings and Leaders Replay Results Real Life Results W-L Pct. GB W-L Pct. GB Brooklyn Dodgers 86-68 .556 -- Boston Braves 94-59 .614 -- St. Louis Cardinals 84-70 .545 2 New York Giants 84-70 .545 10 ½ Boston Braves 81-73 .526 5 St. Louis Cardinals 81-72 .529 15 ½ Pittsburgh Pirates 79-75 .513 7 Chicago Cubs 78-76 .506 16 ½ New York Giants 77-77 .500 9 Brooklyn Dodgers 75-79 .487 19 ½ Chicago Cubs 75-79 .487 11 Philadelphia Phillies 74-80 .480 20 ½ Philadelphia Phillies 71-83 .461 15 Pittsburgh Pirates 69-85 .448 25 ½ Cincinnati Reds 63-91 .409 23 Cincinnati Reds 60-94 .390 34 ½ Batting leaders Pitching leaders Batting average Joe Connolly, Bos .342 ERA Jeff Pfeffer, Bkn, 1.41 On base pct. Joe Connolly, Bos, .423 Wins Grover Cleveland Alexander, Phila, 25-13 Slugging pct. -
Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism
Queering the Shakespeare Film ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism Anthony Guy Patricia Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Imprint previously known as Arden Shakespeare 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY, THE ARDEN SHAKESPEARE and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Anthony Guy Patricia, 2017 Anthony Guy Patricia has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4742-3703-1 ePDF: 978-1-4742-3705-5 ePub: 978-1-4742-3704-8 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Cover image: Imogen Stubbs as Viola and Toby Stephens as Orsino, -
Private Romeo Movie
Title: PRIVATE ROMEO (feature film, 98mins) Writer/Director: Alan Brown Based on William Shakespeare’s Romeo and Juliet When eight cadets are left behind at an isolated military high school, the greatest romantic drama ever written seeps out of the classroom and permeates their lives. Incorporating the original text of Romeo and Juliet, YouTube videos, and lip-synced indie rock music, Private Romeo takes us to a mysterious and tender place that only Shakespeare could have inspired. Cast: Seth Numrich, Matt Doyle, Hale Appleman, Chris Bresky, Sean Hudock, Adam Barrie, Bobby Moreno, and Charlie Barnett Distributors View the trailer: www.youtube.com/user/privateromeomovie Visit the website for updated news, background: www.privateromeothemovie.com/ http://www.facebook.com/pages/Private-Romeo/123162147748863 http://twitter.com/privateromeo The soundtrack features songs from the indie-rock group Bishop Allen. Listen for their hit songs, The Magpie and Busted Heart. Private Romeo is Alan’s fourth film. His first, the half-hour narrative O Beautiful (Strand Releasing, Boys Life 4), won the Future Filmmaker Award at the 2002 Palm Springs International Short Film Festival, and was an official selection of the 2003 Sundance Film Festival. It was singled out by critics as “a rare piece of film making.” His feature debut, Book of Love (Sundance Channel Home Entertainment) which stars Simon Baker, Frances O’Connor, and Bryce Dallas Howard, was praised for its “creepy eroticism and sly intelligence” and for being “a movie that feels about as real as it’s possible to be.” It was nominated for a Grand Jury Prize at the 2004 Sundance Film Festival. -
La Temporada De 1915 Culminó Con Otro Enfrentamiento Boston-Philadelphia. Esta Vez Fueron Los Sorprendentes Filis Quienes Hicie
1915 La temporada de 1915 culminó con otro enfrentamiento Boston-Philadelphia. Esta vez fueron los sorprendentes Filis quienes hicieron la hazaña de brincar del sexto lugar un año antes hasta el obtener el banderín. Los poderosos Medias Rojas con su pitcheo profundo dominaron a los bateadores de Philadelphia, permitiendo sólo dos hits al estrella Gavvy Cravath dejando a los filis con un pobre 0.182 de promedio de bateo en la Serie Mundial. Harry Hooper y Duffy Lewis brillaron por Boston que ganó 4 juegos a 1. Los Filis de Philadelphia fueron líderes de bateo en la Liga Nacional gracias a Cravath y Luderus. Cravath impuso un nuevo récord al conectar 24 jonrones con 115 carreras impulsadas y 89 anotadas con 86 bases por bolas. Luderus fue segundo en la liga con 0.315. Pete Alexander’s obtuvo un récord de 31-10 en ganados y perdidos y 1.22 de PCL, el más bajo de la liga y de su carrera de 20 años en las Grandes Ligas; Erskine Mayer ganó 21 y junto a sus compañeros Al Demaree y Eppa Rixey diron al equipo un porcentaje de carreras limpias de 2.17. Los Gigantes de Nueva York quedaron en el sótano de la liga a 21 juegos del primer lugar y sólo brilló con ellos Larry Doyle, que ganó la corona de bateo con un porcentaje de 0.320 siendo líder en hits con 189 y en dobles con 40. En la liga Americana la pelea estuvo cerrada entre los brazos de los Medias Rojas y el bateo de los Tigres, quedando los primeros de líderes con 21/2 juegos de ventaja. -
Contemporary Adaptations of Hamlet and Romeo and Juliet Aurelie Bourg Universite De Nantes
QUEERING CANONICAL SHAKESPEARE: CONTEMPORARY ADAPTATIONS OF HAMLET AND ROMEO AND JULIET AURELIE BOURG UNIVERSITE DE NANTES QUEERING CANONICAL SHAKESPEARE: CONTEMPORARY ADAPTATIONS OF HAMLET AND ROMEO AND JULIET Aurélie Bourg Dissertation submitted in partial fulfilment for the Degree of Master in English Literary Studies – Year 2 Master Cultures, Langues et Littératures Etrangères, 2ème année Department of English Studies Faculty of Languages and Cultures Université de Nantes Supervisors: Pr. Georges Letissier & Valérie Bénéjam. July 2018 N°10, 2018 1 Éditions du CRINI © e-crini, 2018 ISSN 1760-4753 QUEERING CANONICAL SHAKESPEARE: CONTEMPORARY ADAPTATIONS OF HAMLET AND ROMEO AND JULIET AURELIE BOURG UNIVERSITE DE NANTES TABLE OF CONTENTS LIST OF IMAGES .......................................................................................................................... 4 INTRODUCTION ........................................................................................................................... 5 PART 1: SAME SEX ADAPTATIONS OF ROMEO AND JULIET ........................................... 17 1.1 : GROUNDINGS OF QUEER ADAPTATIONS IN THE ORIGINAL TEXT ................. 17 1.1.1 LOVE, HIDDEN RELATIONSHIPS AND FAMILY CONFLICTS ........................ 18 1.1.2 MERCUTIO, THE PLAY’S QUEER CHARACTER ............................................... 26 1.1.2.1 MERCUTIO IN THE ORIGINAL PLAY .......................................................... 26 1.1.2.2 USE OF MERCUTIO IN ADAPTATIONS ......................................................