Interview with Ben Elton
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La Substantivation Des Adjectifs En Anglais Contemporain Chris A
La substantivation des adjectifs en anglais contemporain Chris A. Smith To cite this version: Chris A. Smith. La substantivation des adjectifs en anglais contemporain. Sciences de l’Homme et Société. Université Paris 4 Paris-Sorbonne, 2005. Français. tel-02144423 HAL Id: tel-02144423 https://hal.archives-ouvertes.fr/tel-02144423 Submitted on 30 May 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ PARIS IV - SORBONNE ÉCOLE DOCTORALE : CONCEPTS ET LANGAGE N° attribué par la bibliothèque |__|__|__|__|__|__|__|__|__|__| THÈSE: VOLUME 1 pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS IV Discipline : Sciences du Langage présentée et soutenue publiquement par Christine Anne SMITH le 3 décembre 2005 La substantivation des adjectifs en anglais contemporain Directeur de thèse : Monsieur le Professeur Pierre COTTE JURY – Messieurs les Professeurs Pierre BUSUTTIL Pierre COTTE Claude DELMAS. Nigel QUAYLE UNIVERSITÉ PARIS IV - SORBONNE ÉCOLE DOCTORALE : CONCEPTS ET LANGAGE N° attribué par la bibliothèque |__|__|__|__|__|__|__|__|__|__| THÈSE: VOLUME 1 pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS IV Discipline : Sciences du Langage présentée et soutenue publiquement par Christine Anne SMITH le 3 décembre 2005 La substantivation des adjectifs en anglais contemporain Directeur de thèse : Monsieur le Professeur Pierre COTTE JURY – Messieurs les Professeurs Pierre BUSUTTIL Pierre COTTE Claude DELMAS. -
Batchelor Boys - the Young Ones Book
Batchelor Boys - The Young Ones Book This is a book spin-off of the infamous TV serial, written by Ben Elton. Stark (1989) From the backnote of the book.... "Stark has more money than God and the social conscience of a dog on a croquet lawn. What's more, they know the Earth is dying. Deep in Western Australia, where the Aboriginals used to milk the trees, a planet-sized plot takes shape. Some green freaks pick up the scent. A Pommie poseur, a brain-fried Vietnam Vet, Aboriginals who lost their land ... not much against a conspiracy that controls society. But EcoAction isn't in society; it just lives in the same place, along with the cockroaches. If you're facing the richest and most disgusting conspiracy in history, you have to do more than stick up two fingers and say 'peace'." This was Ben Elton's first novel, and sold massively in Britain and Australia. It was reprinted 23 times in its' first year of publication, and sold over a million worldwide. Priced at £4.99, the ISBN number is 0 751 501 999 and is now printed by Warner Books. You can have it delivered anywhere in the world via Bookpages. Gridlock (1991) From the backnote of the book.... "Gridlock is when a city dies. Killed in the name of freedom. Killed in the name of oil and steel. Choked on carbon monoxide and strangled with a pair of fluffy dice. How did it come to this ? How did the ultimate freedom machine end up paralysing us all ? How did we end up driving to our own funeral, in somebody else's gravy train ? Deborah and Geoffrey know, but they have transport problems of their own, and anyway, whoever it was that murdered the city can just as easily murder them." Reviews of GRIDLOCK "Brilliant .. -
Alternative Heroes in Nineteenth-Century Historical Plays
DOI 10.6094/helden.heroes.heros./2014/01/02 Dorothea Flothow 5 Unheroic and Yet Charming – Alternative Heroes in Nineteenth-Century Historical Plays It has been claimed repeatedly that unlike previ- MacDonald’s Not About Heroes (1982) show ous times, ours is a post-heroic age (Immer and the impossibility of heroism in modern warfare. van Marwyck 11). Thus, we also fi nd it diffi cult In recent years, a series of bio-dramas featuring to revere the heroes and heroines of the past. artists, amongst them Peter Shaffer’s Amadeus In deed, when examining historical television se- (1979) and Sebastian Barry’s Andersen’s En- ries, such as Blackadder, it is obvious how the glish (2010), have cut their “artist-hero” (Huber champions of English imperial history are lam- and Middeke 134) down to size by emphasizing pooned and “debunked” – in Blackadder II, Eliz- the clash between personal action and high- abeth I is depicted as “Queenie”, an ill-tempered, mind ed artistic idealism. selfi sh “spoiled child” (Latham 217); her immor- tal “Speech to the Troops at Tilbury” becomes The debunking of great historical fi gures in re- part of a drunken evening with her favourites cent drama is often interpreted as resulting par- (Epi sode 5, “Beer”). In Blackadder the Third, ticularly from a postmodern infl uence.3 Thus, as Horatio Nelson’s most famous words, “England Martin Middeke explains: “Postmodernism sets expects that every man will do his duty”, are triv- out to challenge the occidental idea of enlighten- ialized to “England knows Lady Hamilton is a ment and, especially, the cognitive and episte- virgin” (Episode 2, “Ink and Incapability”). -
We Will Rock You”
“We Will Rock You” By Queen and Ben Elton At the Hippodrome Theatre through October 20 By Princess Appau WE ARE THE CHAMPIONS When one walks into the Hippodrome Theatre to view “We Will Rock You,” the common expectation is a compilation of classic rock and roll music held together by a simple plot. This jukebox musical, however, surpasses those expectations by entwining a powerful plot with clever updating of the original 2002 musical by Queen and Ben Elton. The playwright Elton has surrounded Queen’s songs with a plot that highlights the familiar conflict of our era: youths being sycophants to technology. This comic method is not only the key to the show’s success but also the antidote to any fear that the future could become this. The futuristic storyline is connected to many of Queen’s lyrics that foreshadow the youthful infatuation with technology and the monotonous lifestyle that results. This approach is emphasized by the use of a projector displaying programmed visuals of a futuristic setting throughout the show. The opening scene transitions into the Queen song “Radio Gaga,” which further affirms this theme. The scene includes a large projection of hundreds of youth, clones to the cast performing on stage. The human cast and virtual cast are clothed alike in identical white tops and shorts or skirts; they sing and dance in sublime unison, defining the setting of the show and foreshadowing the plot. Unlike most jukebox musicals the plot is not a biographical story of the performers whose music is featured. “We Will Rock You” is set 300 years in the future on the iPlanet when individuality and creativity are shunned and conformity reigns. -
Evangelism and Capitalism: a Reparative Account and Diagnosis of Pathogeneses in the Relationship
Digital Commons @ George Fox University Faculty Publications - Portland Seminary Portland Seminary 6-2018 Evangelism and Capitalism: A Reparative Account and Diagnosis of Pathogeneses in the Relationship Jason Paul Clark George Fox University, [email protected] Follow this and additional works at: https://digitalcommons.georgefox.edu/gfes Part of the Biblical Studies Commons, and the Christianity Commons Recommended Citation Clark, Jason Paul, "Evangelism and Capitalism: A Reparative Account and Diagnosis of Pathogeneses in the Relationship" (2018). Faculty Publications - Portland Seminary. 132. https://digitalcommons.georgefox.edu/gfes/132 This Dissertation is brought to you for free and open access by the Portland Seminary at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Portland Seminary by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. EVANGELICALISM AND CAPITALISM A reparative account and diagnosis of pathogeneses in the relationship A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy by Jason Paul Clark Middlesex University Supervised at London School of Theology June 2018 Abstract Jason Paul Clark, “Evangelicalism and Capitalism: A reparative account and diagnosis of pathogeneses in the relationship.” Doctor of Philosophy, Middlesex University, 2018. No sustained examination and diagnosis of problems inherent to the relationship of Evangeli- calism with capitalism currently exists. Where assessments of the relationship have been un- dertaken, they are often built upon a lack of understanding of Evangelicalism, and an uncritical reliance both on Max Weber’s Protestant Work Ethic and on David Bebbington’s Quadrilateral of Evangelical priorities. -
Popcorn David G
/ . - TheatreThree's Board of Directors THEATRE THREE' 2007-2008 MAINSTAGE EASON Enika Schulze, Chair Patsy P. YungMicale Katherine Ward Mack &Mabel Jae Alder Jean M. Nelson Karen Washington a Broadway and London musical hit by composer JERRY HERMAN, book by MICHAEL STEWART July 19 -August 19 D'Metria Benson Shanna Nugent Sam Yang In the days of silent movies, director Mack Sennett's comic two-reelersmade his discovery,Mabel Normand, Nancy Cochran Elizabeth Rivera America's most adored comedienne. Composer Jenry Herman (Hello, Dolly;Mam e; La Cage aux Fol/es)celebrat es this pioneer film duo in his rollicking and romantic show with his trademark musical panache and show business Roland & Virginia Dykes Eileen Rosenblum, Ph. D. dazzle. Gary W. Grubbs JeffSanders Popcorn David G. Luther Janet Spencer Shaw a Dallas premiere of the taboo-shattering comedy-thrillerby BEN ELTON September 6 -October 7 Sonja J. McGill Ann Stuart, Ph. D. PLACE: Hollywood. TIME: Academy Award Night. CHARACTERS: A vain auteur of voguishly violent films, his ex, his sardonic daughter, his on-the-make date, murderers inspired by his movie, and a voyeuristic TVcrew. Elton's TheatreThree's Staff award-winning comedy has vulgar vigor and smart-mouthedone-liners, but surprisingly has the moral purpose of a Jacobean revenge drama. (Rated VERY Adult) Administration Production Customer Service Pygmalion Executive Producer Technical Director: Customer Service Director: GEORGE BERNARD SHAW's most illustrious and illuminating comedy Director: October 25 - November 25 David Walsh Amy Mills Jackson Here's a 1913 classic stage play that became a classic movie, which in tum became both the classic stage musical Jae Alder Musical Director: House Manager: and movie musical, My Fair Lady. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
Disabling Comedy and Anti-Discrimination Legislation
Disabling Comedy and Anti-Discrimination Legislation Colin Barnes 1991 A version of this paper entitled 'Disabling Comedy' appeared in Greater Manchester Coalition of Disabled People's Journal 'Coalition' December 1991 pp. 26 - 28 Over the last couple of years disabled people and their organizations have become increasingly concerned about disabling imagery in the media. One of the most important examples being the cynical exploitation of disabled people by charities in their efforts to raise money. Here I would like to highlight another form of disablism common to the media which disabled people are expected to endure, which is equally disabling and which is often overlooked or ignored: the exploitation of disabled people by professional non-disabled comedians on television. Of course laughing at disability is not new, disabled people have been a source of amusement and ridicule for non-disabled people throughout history. Along with the other so-called timeless universals of 'popular' humour such as foreigners, women and the clergy, Elizabethan joke books are full of jokes about people with every type of impairment imaginable. During the seventeenth and eighteenth centuries keeping 'idiots' as objects of humour was common among those who had the money to do so, and visits to Bedlam and other 'mental' institutions were a typical form of entertainment for the able but ignorant. While such thoughtless behaviour might be expected in earlier less enlightened times, making fun of disabled people is as prevalent now as it was then. It is especially common among professional non-disabled comedians. Indeed, several of the comedy 'greats' who influenced today's 'funny' men and women built their careers around disablist humour. -
A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin J
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2015 Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement Justin J. Grandinetti James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the American Film Studies Commons, American Popular Culture Commons, Digital Humanities Commons, Other Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, Rhetoric Commons, and the Visual Studies Commons Recommended Citation Grandinetti, Justin J., "Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement" (2015). Masters Theses. 43. https://commons.lib.jmu.edu/master201019/43 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Occupy the Future: A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin Grandinetti A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts Writing, Rhetoric, and Technical Communication May 2015 Dedication Page This thesis is dedicated to the world’s revolutionaries and all the individuals working to make the planet a better place for future generations. ii Acknowledgements I’d like to thank a number of people for their assistance and support with this thesis project. First, a heartfelt thank you to my thesis chair, Dr. Jim Zimmerman, for always being there to make suggestions about my drafts, talk about ideas, and keep me on schedule. -
VPI June 2016
c/o sur la Croix 160, CH - 1020 Renens. www.villageplayers.ch Payments: CCP 10-203 65-1 IBAN: CH71 0900 0000 1002 0365 1 Village Players’ Information (VPI) June 2016 NEXT CLUBNIGHT: VILLAGE PLAYERS’ Annual General Meeting !!!! COME AND FILL THESE SEATS !!!! Thursday 16th June, 2016 At 20h00 Doors open at 19h15 Bar open 19h30 CPO - Centre Pluriculturel d’Ouchy Beau-Rivage 2, 1006 Lausanne PLEASE NOTE IN YOUR DIARIES – AND TELL YOUR FRIENDS AND FELLOW MEMBERS Come and have your say in the running of the club and our activities, and cast your vote for the new Committee. Of the present Committee, the following are willing to stand for (re)election for the following posts: Production Coordinator Daniel Gardini Events Coordinator Mary Couper Secretary Colin Gamage Treasurer Derek Betson Publicity Manager Susan Morris Membership Secretary Dorothy Brooks Technical Manager Ian Griffiths At the moment we have the proposal of Chris Hemmens for the post of Chairman but do not have candidates for the posts of Administrative Director and Business Manager. So before, or latest at, the AGM we will be looking for volunteers to come forward to fill these positions. Brief descriptions of these posts are: ADMINISTRATIVE DIRECTOR: Coordinates the running of the Society, guarantees its efficient administration, assists and deputises for the Chairman. BUSINESS MANAGER: Responsible for forward planning, negotiation for hire of theatres, rooms for productions and events; liaison with appropriate authorities for services, purchase of tickets, front of house, payment of dues and performance rights. THIS IS A VERY IMPORTANT MEETING – WE NEED YOU ALL TO COME ALONG. -
The Revival of the Satiric Spirit in Contemporary British Fiction1
The Revival of the Satiric Spirit in Contemporary British Fiction1 Luis Alberto Lázaro Lafuente University of Alcalá Satiric novels have traditionally been regarded as a minor form by many critics and scholars. Aristotle had already referred to the satirists as "the more trivial" poets who wrote about the actions of meaner~persons, in stark contrast to the "more serious-minded" epic poets who represented noble actions and the lives of noble people (1965: 35-36). This attitude has persisted throughout many centuries in the history of English literature. Even though satire enjoyed its golden age in the seventeenth and eighteenth centuries, especially with the poetry of such distinguished writers as Dryden or Pope, satiric compositions in prose did not really achieve the same high position2• When with time the novel became a well• established genre, it was mainly naturalistic fiction and psychological stories that commonly attained a prominent status among the literary critics, whereas the comic and satiric novel, with a few exceptions, was relegated to a status of popular prose on the fringe of the canon, or even outside it. Indeed, in the twentieth century, several prestigious authors have offered a rather gloomy picture of the state of novelistic satire. Robert C. Elliott, for instance, said in 1960 that the great literary figures of this century were not "preeminently satirists" (1970: 223); and Patricia Meyer Spacks, in her artide "Some Reflections on Satire" first published in 1968, even stated that satiric novel s by authors such I Some ideas oí this paper have already appeared in my essay "El espíritu satírico en la novela británica contemporánea: Menipo redivivo", included in the volume edited by Fernando Galván Már• genes y centros en la literatura británica actual. -
Slapstick 2017 Brings in New Stars and Pays Tribute to Victoria Wood and Rik Mayall
NEWS from SLAPSTICK BRISTOL’S ANNUAL FESTIVAL OF SILENT & CLASSIC SCREEN COMEDY “Stupid Boy!”: Celebrating Dad’s Army with Ian Lavender SLAPSTICK 2017 BRINGS IN NEW STARS AND PAYS TRIBUTE TO VICTORIA WOOD AND RIK MAYALL Diary dates: Wednesday 18th to Sunday 22nd January 2017 Britain’s biggest celebration of silent and classic screen comedy returns to Bristol with a five day programme of archive hilarity that will include tributes to Victoria Wood, Rik Mayall and Pierre Etaix; surprising finds and a star-studded cast of event hosts that will see Roy Hudd, Shazia Mirza, Nigel Planer and Alexei Sayle making their Slapstick debuts Times, dates and venues vary – www.slapstick.org.uk Victoria Wood and Rik Mayall will be among the comedy giants being celebrated when Britain’s biggest festival of vintage screen comedy - Slapstick - returns to Bristol from January 18 to 22. Each is to get a special tribute event during a five-day festival that will showcase 100 years of stand-out film and television hilarity and see veteran entertainer Roy Hudd, the taboo- busting stand-up Shazia Mirza, HI-DI-HI star Jeffrey Holland and two stars of the UK’s first alternative comedy sit-com making their Slapstick debuts. Among the events so far confirmed for the Slapstick 2017 line-up are: • Rory Bremner hosting the festival’s centrepiece Silent Comedy Gala featuring live musical accompaniments by a 25 piece orchestra to films starring Harold Lloyd, Buster Keaton and Laurel & Hardy • Marcus Brigstocke joining Nigel Planer and Alexei Sayle on a revisit to the anarchic