Mckenna Dans Period 5 the Phantom of the Opera Gaston Leroux's

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McKenna Dans Period 5 The Phantom of the Opera Gaston Leroux’s richly detailed novel and later adapted into a wildly popular stage show The Phantom of the Opera has dazzled audiences through the ages. The tone, mood, and theme of the play demonstrate the twisted mind of the Opera Ghost and his ever lasting love for the darling soprano Christine Daae. The play begins with an auction for recently discovered items at the now defunct Paris Opera House which closed under mysterious and deadly corollaries. The novel then follows the auction scene with the telling of events that ultimately led to the destruction of the opera house. Christine Daae, in opinion of the hostile Opera Ghost, holds a far superior voice to the presently occupied soprano Carlotta. The hideously distorted Opera Ghost’s hostility rises when a charming childhood friend of Christine, Raoul enraptures Christine’s heart. The Opera Ghost retaliates against the owners of the opera house by murdering Joseph Buquet, a stage hand, and collapsing a magnificent chandelier upon a full house. The Opera Ghost’s defense for slaying the theater and Buquet attributes to the all consuming love he retains for the unreciprocated Christine. The mood and tone for The Phantom of the Opera denotes a harried and worrisome atmosphere due to the volatile Opera Ghost. The theme of the play stresses the mania that surrounds a person who is so disfigured that he must be shied away from public sight. Though the Opera Ghost never truly gets what he wants, the passion between him and Christine has enchanted audiences throughout the decades. .

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The Paris Opera House the SCENE of GASTON LEROUX's NOVEL, "THE PHANTOM of the OPERA" That Mr. Leroux Has Used, for Th
! Text appended to the 1910 volume publication of the novel, ! !The Phantom of the Opera, by Gaston Leroux! !The Paris Opera House THE SCENE OF GASTON LEROUX'S NOVEL, !"THE PHANTOM OF THE OPERA" That Mr. Leroux has used, for the scene of his story, the Paris Opera House as it really is and has not created a building out of his imagination, is shown by this interesting description of it taken from an article which appeared in Scribner's Magazine in 1879, !a short time after the building was completed: The new Opera House, commenced under the Empire and finished under the Republic, is the most complete building of the kind in the world and in many respects the most beautiful. No European capital possesses an opera house so comprehensive in plan and execution, !and none can boast an edifice equally vast and splendid. The site of the Opera House was chosen in 1861. It was determined to lay the foundation exceptionally deep and strong. It was well known that water would be met with, but it was impossible to foresee at what depth or in what quantity it would be found. Exceptional depth also was necessary, as the stage arrangements were to be such as to admit a scene fifty feet high to be lowered on its frame. It was therefore necessary to lay a foundation in a soil soaked with water which should be sufficiently solid to sustain a weight of 22,000,000 pounds, and at the same time to be perfectly dry, as the cellars were intended for the storage of scenery and properties.
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The Phantom of the Opera: a Case Study of Severe Major Depressive
essio epr n D an f d Tobia et al., J Depress Anxiety 2017, 6:4 o A l a n n x r DOI: 10.4172/2167-1044.1000282 i e u t y o J Journal of Depression and Anxiety ISSN: 2167-1044 Research Article Article Open Access The Phantom of the Opera: A Case Study of Severe Major Depressive Disorder with Psychotic Features Anthony Tobia*, Roseanne Dobkin, Shawen Ilaria, Rehan Aziz, Viwek Bisen and Adam Trenton Department of Psychiatry, Rutgers Robert Wood Johnson Medical School, USA Abstract Objective: Portrayals of psychiatry in the arts have been enjoyed by audiences for almost a century. Courses designed to teach psychopathology have used examples from the arts to emphasize major teaching points. This paper frames Elisabeth Kübler-Ross’s stage theory of grief within selected scenes of Andrew Lloyd Webber’s musical, The Phantom of the Opera, to achieve course objectives such as the etiology, course, and levels of severity of Major Depressive Disorder. Methods: Course content from our Psychopathology course was transformed into a dialogue between an examining psychiatrist and a Broadway performer who was in character. The performance was part of a special Grand Rounds reviewing the Mood Disorders. Results: Goals and objectives were readily achieved with over 450 faculties in attendance. Conclusions: Organizing a curriculum with performing arts is an innovative teaching method that allows for review of mental disorders such as those demonstrated in The Phantom of the Opera. Keywords: Media; Teaching methods; Depression; Psychopathology in character, responded in song. This paper reviews the major points from our event formulating the dialogue as a case of Major Depressive Introduction Disorder (MDD).
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Garwood Council Creates Parks and Recreation Committee Cranford
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The Phantom of the Opera Music: Andrew Lloyd Webber Lyrics
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Master Reference
Master Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra HEWITT, Rachel Abstract The retranslation hypothesis as it is understood today states that later translations of a given text tend to be closer to the source text both in terms of language and cultural impact than earlier translations. This hypothesis stems from an essay written by Antoine Berman in 1990. However, it has since been challenged by a number of theorists. This paper discusses the retranslation hypothesis and the criticism it has received. Through a critical analysis of Gaston Leroux's novel, Le Fantôme de l'Opéra, and its six English translations that span more than a century, this paper challenges the theories put forward by Berman in his essay and analyses various textual elements of Leroux's work and the choices made my those who translated it. Reference HEWITT, Rachel. Phantoms of the Source Text : Retranslation and the English Translations of Gaston Leroux's Le Fantôme de l'Opéra. Master : Univ. Genève, 2016 Available at: http://archive-ouverte.unige.ch/unige:92538 Disclaimer: layout of this document may differ from the published version. 1 / 1 Rachel Hewitt Phantoms of the Source Text: Retranslation and the English Translations of Gaston Leroux’s Le Fantôme de l’Opéra Directrice : Ashley Riggs Juré : James Tarpley Mémoire présenté à la Faculté de traduction et d’interprétation pour l’obtention de la Maîtrise universitaire en traduction, mention traduction spécialisée Université de Genève 2016 Hewitt !2 Déclaration attestant le caractère original du travail effectué J’affirme avoir pris connaissance des documents d’information et de prévention du plagiat émis par l’Université de Genève et la Faculté de traduction et d’interprétation (notamment la Directive en matière de plagiat des étudiant-e-s, le Règlement d’études de la Faculté de traduction et d’interprétation ainsi que l’Aide-mémoire à l’intention des étudiants préparant un mémoire de Ma en traduction).
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Cast Biographies Chris Mann
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Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera.
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Lublin Studies in Modern Languages and Literature
Lublin Studies in Modern Languages and Literature VOL. 43 No 2 (2019) ii e-ISSN: 2450-4580 Publisher: Maria Curie-Skłodowska University Lublin, Poland Maria Curie-Skłodowska University Press MCSU Library building, 3rd floor ul. Idziego Radziszewskiego 11, 20-031 Lublin, Poland phone: (081) 537 53 04 e-mail: [email protected] www.wydawnictwo.umcs.lublin.pl Editorial Board Editor-in-Chief Jolanta Knieja, Maria Curie-Skłodowska University, Lublin, Poland Deputy Editors-in-Chief Jarosław Krajka, Maria Curie-Skłodowska University, Lublin, Poland Anna Maziarczyk, Maria Curie-Skłodowska University, Lublin, Poland Statistical Editor Tomasz Krajka, Lublin University of Technology, Poland International Advisory Board Anikó Ádám, Pázmány Péter Catholic University, Hungary Monika Adamczyk-Garbowska, Maria Curie-Sklodowska University, Poland Ruba Fahmi Bataineh, Yarmouk University, Jordan Alejandro Curado, University of Extramadura, Spain Saadiyah Darus, National University of Malaysia, Malaysia Janusz Golec, Maria Curie-Sklodowska University, Poland Margot Heinemann, Leipzig University, Germany Christophe Ippolito, Georgia Institute of Technology, United States of America Vita Kalnberzina, University of Riga, Latvia Henryk Kardela, Maria Curie-Sklodowska University, Poland Ferit Kilickaya, Mehmet Akif Ersoy University, Turkey Laure Lévêque, University of Toulon, France Heinz-Helmut Lüger, University of Koblenz-Landau, Germany Peter Schnyder, University of Upper Alsace, France Alain Vuillemin, Artois University, France v Indexing Peer Review Process 1. Each article is reviewed by two independent reviewers not affiliated to the place of work of the author of the article or the publisher. 2. For publications in foreign languages, at least one reviewer’s affiliation should be in a different country than the country of the author of the article.
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The Characterization of Phantom in Gaston Leroux's the Phantom of the Opera by Shu-Ling Cheng (鄭淑玲) Adviser: Professor L
The Characterization of Phantom in Gaston Leroux’s The Phantom of the Opera BY Shu-Ling Cheng (鄭淑玲) Adviser: Professor Li-Li Lin (林莉莉) Department of Applied English Yuanpei University of Technology January 2010 Hsinchu, Taiwan, R.O.C. The article written by Shu-Ling Cheng has been accepted in its present form by Department of Applied English of Yuanpei University of Technology as satisfying the project requirement for the degree of Bachelor of Arts. Advisor ___________________________ Chairman of the Department ___________________________ January 2010 Acknowledgements I wish to thank my advisor, Professor Li-Li Lin, for her guidance and her being extraordinarily generous in helping me finish this paper. To my former partner, Naima, I wish to thank her for helping me find reference last semester and giving me some ideas. ii Abstract Based on the dark side of his personality, most critics assume that Phantom is a frenzied and violent person (JOYCE Y CHIOU, 2006; Pei Zhong Yang, 2006). This study aims at exploring the reason why he gives the reader such an impression and why we find that he is not so inhuman. We will put our emphasis on the weak side of his personality, on which he is full of sense of inferiority and hatred. Our conclusion is that Phantom is characterized as a human instead of a demon. iii TABLE OF CONTENTS Acknowledgements….………………………….…...................ii Abstract…………………………………….……………….....iii Introduction……………………………….…………………….1 Summary………………………………….…………………….1 Review of Literature……………………………………...…….1 Conclusion…………………………….…..……………………5 Work Cited…………………………………………………..….5 i Introduction The Phantom of the Opera is a French novel written by Gaston Leroux (1910). The novel was sold very poorly.
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The Phantom of the Opera
THE PHANTOM OF THE OPERA Based Upon the Novel by GASTON LEROUX Book by JOSEPH ROBINETTE Music by ROBERT CHAULS Lyrics by JOSEPH ROBINETTE and ROBERT CHAULS The Dramatic Publishing Company Woodstock, lllinois • London, England • Melooume, Australia © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** 'Ine amateur and stock acting rights to this work are controlled exclu sively by THE DRAMATIC PUBLISHING COMPANY without whose pennission in writing no perfonnance of it may be given. Royalty fees are given in our current catalogue and are subject to change without notice. Royalty must be paid every time a play is perfonned whether or not it is presented for profit and whether or not admission is charged. A play is perfonned anytime it is acted before an audience. All inquiries concerning amateur and stock rights should be addressed to: THE DRA MATIC PUBLISHING COMPANY, 311 Washington St., Woodstock, Illinois 60098. COPYRIGHT LAW GIVES THE AUTHOR OR IDS AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. TIlls law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the perfonnance of their work. Conscientious observance of copyright law is not only ethical, it encourages authors to continue their cr~tive work. This work is fully protected by copyright. No alterations, deletions or substitutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any fonn or by any means, electronic or mechanical, including photocopy, recording, videotape, fihn, or any infonnation stor age and retrieval system, without pennission in writing from the pub lisher.
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Phantom of the Opera
Phantom of the Opera by Gaston Leroux Gaston Leroux was born in Paris in 1868, and The Life and grew up in Normandy in the north of France. He Career of Gaston became interested in literature at an early age. Leroux He studied law in Paris, but quickly gave up1 this profession to concentrate on journalism. His first real success came when L'Echo de Paris published a series of his poems2 about Parisian actresses. Leroux's father died in 1889, and he inherited3 a fortune4 of one million francs. He immediately5 began to live on a grand scale6, eating in the best restaurants and entertaining7 splendidly8. He spent the whole of his inheritance9 in a period of six months, and then had to consider 10 how he would earn his living. In 1890 he became a court11 reporter for L'Echo de Paris. Soon after, he was given a job on the more prestigious newspaper, Le Matin. He was one of the first 'investigative'12 journalists, and he became famous when 1 to give up = vzdát se 2 a poem = báseň 3 to inherit = zdědit 4 a fortune [ˈfɔːtʃən] = jmění 5 immediately [ɪˈmiːdɪətlɪ] = okamžitě 6 on a grand scale = ve velkém (měřítku) 7 to entertain = pobavit 8 splendidly = skvěle, ohromně 9 an inheritance = dědictví 10 to consider = zvážit, promyslet 11 a court [kɔːt] = soud → a court reporter = soudní reportér 12 investigative = vyšetřovací, investigativní he solved a sensational13 case14 before it reached15 the law courts. Leroux combined journalism with novel16 writing and stories. His first novel, The Seeking17 of the Morning Treasures18, appeared19 in 1903.
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