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Season Preview
Central Florida’s 2018-2019 Cultural Season Lights, camera, action … let the new cultural season begin. As the curtain rises you’ll find a plethora of tradi- tional favorites, new collaborations and grand productions that immerse you in the experience that is unfolding. You will also find new offerings that celebrate the diversity of our community and new partnerships that will make our art scene stronger. Museums and local galleries show- casing world-wide exhibitions and our homegrown talent are accessible to all. It’s a time to revel in new beginnings and salute the organizations that work tirelessly to create offerings that improve every year. We are stronger when we work together, and there is no better place to illustrate this excitement than the events and performances of the 2018-2019 Season Preview. Dance Film & Literature History Music Science & Nature Special Events Theatre Visual Arts P. 37-65 Season Preview 2018-2019.indd 37 8/10/18 12:58 PM Dance Carmen Jan. 26-27, Dr. Phillips Center for the Performing Arts March 24, Athens Theatre Flamenco Del Sol facebook.com/floridaflamencodelsol Carmen is an extraordinary production showcasing the iconic music of George Bizet layered over Prosper Mérimée’s quintessentially Spanish story line told through a rich blend of classical operatic and flamenco music, including live guitar, percussion and original compositions. A cast of more than 30 will entrance the audience with percussive footwork, snapping fans and thundering castanets, all clothed in majestic authentic costuming. Join us as we follow Carmen and Don José through this timeless, tragic love story. -
Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent Into Ennui in John Logan’S TV Series Penny Dreadful
doi: 10.17605/OSF.IO/H4YBT “Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent into Ennui in John Logan’s TV Series Penny Dreadful Dr. Richard Logsdon, Professor Emeritus, College of Southern Nevada Abstract ennui that has its counterpart in our own culture. The suggestion is that Logan uses While scholars have provided some Vanessa Ives as a symbolic representation of insight into Penny Dreadful, no one has a dying world view, which, somewhat addressed the relationship of the piece’s ironically, provided for her remaining overall design to the writer’s vision. Indeed, friends a hope that sustained them. Penny Dreadful is offered as a warning of a darker age to come. Accordingly, writer 1. Introduction: Old or New Gothic? John Logan sets his series in a late Victorian, Gothicized London that serves as Since the release of Francis Ford a microcosm for a contemporary Western Coppola’s Dracula in 1992, Gothic horror world experiencing a psychological and films that gave the traditional depiction of spiritual disintegration that touches the the Prince of Vampires have been replaced individual and the larger culture. Logan calls by tamer, even more domesticated versions attention to the anxieties generated by this of Bram Stoker’s monster (Hutchings 40- disintegration by incorporating into his 48). Indeed, in the world of cinema and TV, series characters from late Victorian Gothic the past two or three decades have seen a fiction: Frankenstein and his creature, movement away from the traditional Gothic Dracula, the Wolf Man, Dorian Gray, and horror with its dark and haunted landscapes, Dr. -
Young Adult Realistic Fiction Book List
Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her. -
The Real "Monster" in Frankenstein
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 1 (2016) The Real "Monster" in Frankenstein David O. Urizar Citation Urizar, D. O. (2016). The Real "Monster" in Frankenstein. Arsenal: The undergraduate research journal of Augusta University, 1(1), 20-27. http://doi.org/10.21633/issn.2380.5064/f.2016.01.20 © 2016 Urizar. This open access article is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/f.2016.01.20 Real “Monster” in Frankenstein David O. Urizar Department of Biological Sciences College of Science and Mathematics Faculty Mentor: Todd Hoffman, Ph.D., Department of English and Foreign Languages The story of Frankenstein is typically seen as a battle between Victor Frankenstein and the “monster” of the story. However I argue that that the real “monster” of the story is in fact Victor Frankenstein who is suffering from paranoid schizophrenia and that the “monster” is really just a delusions that Victor uses to cope with the idea that he in fact is the killer of the story. This concept is evident in the fact that no one in the story has ever seen both Victor Frankenstein and the “monster” alive in the same place. The characteristics of the “monster’ also point towards the idea that the “monster” could not possibly exist. Even the way that Victor acts throughout the book point to the idea that he does not really care for the safety of his loved ones. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
Wail of an Ebbing Tide © 2016 Xena Torres
Wail of an Ebbing Tide © 2016 Xena Torres www.bitchofrome.com/pennydreadful Penny Dreadful is the copyright property of Showtime and Sky. It was created by John Logan and produced by Desert Wolf Productions and Neal Street Productions. This fan fiction story has been written for entertainment purposes only out of love for the show and out of respect to my fellow Dreadfuls. Dedicated to Eva Green for the gift of Vanessa Ives & my fellow Dreadfuls AUTHOR’S NOTE This story rewrites the ending of the final episode of Penny Dreadful, “The Blessed Dark,” from the moment Ethan enters the white bricked room with Vanessa. It is then divided into six parts (“episodes”) in which I attempt to conclude the series, wrapping up loose threads and plot points that I think most Dreadfuls would agree were left unresolved at the end of the series. Please note that I am not someone who is against tragic end- ings, nor do I think endings have to be sunshine and rainbows, where none of the characters die and they all go off to live perfect lives. I do, however, think endings to series need to give viewers closure and have to bring the characters to a point where we can accept they will live on without us watching. For my ending, I fol- lowed the threads already presented on the show. I also used the books Penny Dreadful drew from, directly and indirectly, while other parts were completely my own. Dr. Jekyll does not appear in this novel. While his story was disappointing, I felt it was as concluded as it could be without start- ing a new thread and this fan fiction is an attempt to conclude the show, not the first part of a virtual series. -
Universidade Federal Da Paraíba Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Letras Espelhos E
UNIVERSIDADE FEDERAL DA PARAÍBA CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN AURICÉLIO SOARES FERNANDES JOÃO PESSOA - PB ABRIL DE 2020 AURICÉLIO SOARES FERNANDES ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN Tese submetida ao Programa de Pós- Graduação em Letras, da Universidade Federal da Paraíba, como pré-requisito para a obtenção do título de Doutor em Letras. Orientador: Prof. Dr. Luiz Antonio Mousinho Magalhães Área de Concentração: Literatura, Cultura e Tradução Linha de Pesquisa: Tradução e Cultura JOÃO PESSOA - PB ABRIL DE 2020 ESPELHOS E RETRATOS DE DORIAN GRAY NA SÉRIE TELEVISIVA PENNY DREADFUL: CONFIGURAÇÕES DO GÓTICO NA CONSTRUÇÃO DO PERSONAGEM DE OSCAR WILDE E DE JOHN LOGAN FERNANDES, Auricélio Soares. Espelhos e retratos de Dorian Gray em Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan________ fls. Tese. (Doutorado em Letras) – Universidade Federal da Paraíba, João Pessoa, 2020. BANCA EXAMINADORA ____________________________________________________ Prof. Dr. Luiz Antonio Mousinho Magalhães – UFPB Orientador ____________________________________________________ Profª. Drª Laura Loguercio Cánepa – Universidade Anhembi Morumbi (Examinadora externa) ____________________________________________________ -
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. -
Pearson English Active Reading Level 3: Frankenstein 9781292121512
CHAPTER 1 Young Frankenstein I was interested in the secrets of the sky and the earth, of the natural world. y name is Victor Frankenstein. I come from Geneva, in Switzerland, and M my family is one of the most important in that country. When I was very young, my parents travelled a lot. I was their only child, and they took me with them. My parents were kind and they loved me very much. My earliest memories are happy ones. When I was about five years old, we stayed for a week at Lake Como in Italy. My mother was a kind woman and visited a poor family on a farm. They had five children. Four had dark hair like the man and his wife, but the other child, a girl, had fair hair and looked quite different. The farmer’s wife told my mother the child’s history. The girl’s name was Elizabeth Lavenza, and she was the daughter of a rich man from Milan. Her mother died when she was born. Elizabeth’s father died too, trying to free his country from a bad government. He lost everything – his house and his money. It was all taken away. Hispages child was left with this family. My mother wanted to have another child very much. And she wanted a daughter. When she saw Elizabeth, she loved her immediately. She wanted to bring Elizabeth up as her own child. She talked to the farmer and his wife about her idea. The farmer and his wife loved the girl, but they agreed. -
JGP Vol 2 No 2.Pdf
ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ Journal of Gender and Power Vol. 2, No. 2, 2014 POZNAŃ 2014 Journal of Gender and Power is aimed at providing an international forum for discussing vari‐ ous issues and processes of gender construction. It is a scholarly, interdisciplinary journal, which features articles in all fields of gender studies, drawing on various paradigms and ap‐ proaches. We invite scholars to submit articles and reviews reporting on theoretical considera‐ tions and empirical research. Journal of Gender and Power is published by Faculty of Educational Studies, Adam Mickiewicz University (Poznań – Poland). Editorial Board Editor‐in‐Chief Agnieszka Gromkowska‐Melosik Adam Mickiewicz University, Poland Editorial Assistant Michał Klichowski Adam Mickiewicz University, Poland Cecilia Åsberg (Linköping University, Sweden), Zygmunt Bauman (University of Leeds, England), Francesca Bettio (University of Siena, Italy), Mary Blair‐Loy (University of California, USA), Doris Chang (Wichita State University, USA), Miranda Christou (University of Cyprus, Cyprus), Lorraine Dowler (Pennsylvania State University, USA), Catherine Driscoll (University of Sydney, Australia), Virgínia Ferreira (University of Coimbra, Portugal), Eva Fodor (Central European University, Hungary), Eleanor Gordon (University of Glasgow, Scotland), Lawrence Grossberg (University of North Carolina at Chapel Hill, USA), Anita Harris (Monash University, Australia), Beata Kowalska (Jagiellonian University in Cracow, Poland), Michael A. Messner (University of Southern -
Teaching Social Studies Through Film
Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students.