To Talk Arms Cut to Gall Session of Our Assembly
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ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3. -
The Summons of Death on the Medieval and Renaissance English Stage
The Summons of Death on the Medieval and Renaissance English Stage The Summons of Death on the Medieval and Renaissance English Stage Phoebe S. Spinrad Ohio State University Press Columbus Copyright© 1987 by the Ohio State University Press. All rights reserved. A shorter version of chapter 4 appeared, along with part of chapter 2, as "The Last Temptation of Everyman, in Philological Quarterly 64 (1985): 185-94. Chapter 8 originally appeared as "Measure for Measure and the Art of Not Dying," in Texas Studies in Literature and Language 26 (1984): 74-93. Parts of Chapter 9 are adapted from m y "Coping with Uncertainty in The Duchess of Malfi," in Explorations in Renaissance Culture 6 (1980): 47-63. A shorter version of chapter 10 appeared as "Memento Mockery: Some Skulls on the Renaissance Stage," in Explorations in Renaissance Culture 10 (1984): 1-11. Library of Congress Cataloging-in-Publication Data Spinrad, Phoebe S. The summons of death on the medieval and Renaissance English stage. Bibliography: p. Includes index. 1. English drama—Early modern and Elizabethan, 1500-1700—History and criticism. 2. English drama— To 1500—History and criticism. 3. Death in literature. 4. Death- History. I. Title. PR658.D4S64 1987 822'.009'354 87-5487 ISBN 0-8142-0443-0 To Karl Snyder and Marjorie Lewis without who m none of this would have been Contents Preface ix I Death Takes a Grisly Shape Medieval and Renaissance Iconography 1 II Answering the Summon s The Art of Dying 27 III Death Takes to the Stage The Mystery Cycles and Early Moralities 50 IV Death -
Rocky Mountain Classical Christian Schools Speech Meet Official Selections
Rocky Mountain Classical Christian Schools Speech Meet Official Selections Sixth Grade Sixth Grade: Poetry 3 anyone lived in a pretty how town 3 At Breakfast Time 5 The Ballad of William Sycamore 6 The Bells 8 Beowulf, an excerpt 11 The Blind Men and the Elephant 14 The Builders 15 Casey at the Bat 16 Castor Oil 18 The Charge of the Light Brigade 19 The Children’s Hour 20 Christ and the Little Ones 21 Columbus 22 The Country Mouse and the City Mouse 23 The Cross Was His Own 25 Daniel Boone 26 The Destruction of Sennacherib 27 The Dreams 28 Drop a Pebble in the Water 29 The Dying Father 30 Excelsior 32 Father William (also known as The Old Man's Complaints. And how he gained them.) 33 Hiawatha’s Childhood 34 The House with Nobody in It 36 How Do You Tackle Your Work? 37 The Fish 38 I Hear America Singing 39 If 39 If Jesus Came to Your House 40 In Times Like These 41 The Landing of the Pilgrim Fathers 42 Live Christmas Every Day 43 The Lost Purse 44 Ma and the Auto 45 Mending Wall 46 Mother’s Glasses 48 Mother’s Ugly Hands 49 The Naming Of Cats 50 Nathan Hale 51 On First Looking into Chapman’s Homer 53 Partridge Time 54 Peace Hymn of the Republic 55 Problem Child 56 A Psalm of Life 57 The Real Successes 60 Rereading Frost 62 The Sandpiper 63 Sheridan’s Ride 64 The Singer’s Revenge 66 Solitude 67 Song 68 Sonnet XVIII 69 Sonnet XIX 70 Sonnet XXX 71 Sonnet XXXVI 72 Sonnet CXVI 73 Sonnet CXXXVIII 74 The Spider and the Fly 75 Spring (from In Memoriam) 77 The Star-Spangled Banner 79 The Story of Albrecht Dürer 80 Thanksgiving 82 The Touch of the -
Powers of Horror; an Essay on Abjection
POWERS OF HORROR An Essay on Abjection EUROPEAN PERSPECTIVES: A Series of the Columbia University Press POWERS OF HORROR An Essay on Abjection JULIA KRISTEVA Translated by LEON S. ROUDIEZ COLUMBIA UNIVERSITY PRESS New York 1982 Library of Congress Cataloging in Publication Data Kristeva, Julia, 1941- Powers of horror. (European perspectives) Translation of: Pouvoirs de l'horreur. 1. Celine, Louis-Ferdinand, 1894-1961 — Criticism and interpretation. 2. Horror in literature. 3. Abjection in literature. I. Title. II. Series. PQ2607.E834Z73413 843'.912 82-4481 ISBN 0-231-05346-0 AACR2 Columbia University Press New York Guildford, Surrey Copyright © 1982 Columbia University Press Pouvoirs de l'horreur © 1980 Editions du Seuil AD rights reserved Printed in the United States of America Clothbound editions of Columbia University Press books are Smyth- sewn and printed on permanent and durable acid-free paper. Contents Translator's Note vii I. Approaching Abjection i 2. Something To Be Scared Of 32 3- From Filth to Defilement 56 4- Semiotics of Biblical Abomination 90 5- . Qui Tollis Peccata Mundi 113 6. Celine: Neither Actor nor Martyr • 133 7- Suffering and Horror 140 8. Those Females Who Can Wreck the Infinite 157 9- "Ours To Jew or Die" 174 12 In the Beginning and Without End . 188 11 Powers of Horror 207 Notes 211 Translator's Note When the original version of this book was published in France in 1980, critics sensed that it marked a turning point in Julia Kristeva's writing. Her concerns seemed less arcane, her presentation more appealingly worked out; as Guy Scarpetta put it in he Nouvel Observateur (May 19, 1980), she now intro- duced into "theoretical rigor an effective measure of seduction." Actually, no sudden change has taken place: the features that are noticeable in Powers of Horror were already in evidence in several earlier essays, some of which have been translated in Desire in Language (Columbia University Press, 1980). -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
The Evolution of Yeats's Dance Imagery
THE EVOLUTION OF YEATS’S DANCE IMAGERY: THE BODY, GENDER, AND NATIONALISM Deng-Huei Lee, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: David Holdeman, Major Professor Peter Shillingsburg, Committee Member Scott Simpkins, Committee Member Brenda Sims, Chair of Graduate Studies in English James Tanner, Chair of the Department of English C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Lee, Deng-Huei, The Evolution of Yeats’s Dance Imagery: The Body, Gender, and Nationalism. Doctor of Philosophy (British Literature), August 2003, 168 pp., 6 illustrations, 147 titles. Tracing the development of his dance imagery, this dissertation argues that Yeats’s collaborations with various early modern dancers influenced his conceptions of the body, gender, and Irish nationalism. The critical tendency to read Yeats’s dance emblems in light of symbolist- decadent portrayals of Salome has led to exaggerated charges of misogyny, and to neglect of these emblems’ relationship to the poet’s nationalism. Drawing on body criticism, dance theory, and postcolonialism, this project rereads the politics that underpin Yeats’s idea of the dance, calling attention to its evolution and to the heterogeneity of its manifestations in both written texts and dramatic performances. While the dancer of Yeats’s texts follow the dictates of male-authored scripts, those in actual performances of his works acquired more agency by shaping choreography. In addition to working directly with Michio Ito and Ninette de Valois, Yeats indirectly collaborated with such trailblazers of early modern dance as Loie Fuller, Isadora Duncan, Maud Allan, and Ruth St. -
By Billups Allen Billups Allen Is a Record Store Clerk Who Spent His Formative Years in and Around the Washington D.C
By Billups Allen Billups Allen is a record store clerk who spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and film minor. He currently lives in Memphis, Tennessee where he publishes Cramhole zine, contributes regularly to Razorcake, Lunchmeat, and Ugly Things, and writes fiction (cramholezine.com, billupsallen@ gmail.com) Illustrations by Danny Martin: Zines, murals , stickers, woodcuts, and teachin’ screen printing at a community college on the side. (@DannyMartinArt) Zine design by Todd Taylor Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. One Punk’s Guide to Patrick Cowley originally appeared in Razorcake #107, released in December 2018/January 2019. This zine is made possible in part by support by the Los Angeles County Board of Supervisors through the Los Angeles Arts Commission. Printing Courtesy of Razorcake Press razorcake.org n 1978 a DJ subscription-only remix of the already popular Donna Summer song “I Feel Love” went out in the mail. It was 15:43 long. The bass line was looped so overdubbed synthesizer effects could be added. This particular version of the song went largely unnoticed by the general public and did nothing to make producer Patrick Cowley a household name. But dancers in nightclubs reacted. They may have been unaware and/or unconcerned about what they were hearing, but they reacted. -
Author Last Name Author First Name Title
Author Last Name Author First Name Title Corson Grafton Sue "E" is for Evidence Grafton Sue "K" Is For Killer Grafton Sue "O" is for Outlaw Francis Dick 10 LB Penalty Francis Dick 10 Lb. Penalty Wilson N.D. 100 Cupboards Roberts Luise 1000 Great Knitting Motifs Roberts Luise 1000 Great Knitting Motifs McCullough David 1776 Better Homes and Gardens 1988 Christmas Crafts Southern Living 1994 Christmas With Southern Living Patterson James 1st To Die Jaspersohn Wil 2 Brothers Verne Jules 20,000 Leagues Under the Sea Prelutsky Jack 20th Century Childrens Poetry Treasury Hohan Tana 26 Letters and 99 Cents Wiesner David 3 Pigs Gannett Ruth S. 3 Tales of My Fathers Dragon Doak Carol 300 Paper-Pieced Quilt Blocks Kane Patricia E 300 Years of American Seating Furniture Smith Alexander McCall 44 Scotland Street Patterson James 4th of July Christelow Eil 5 Dog Night Schlesinger Sarah 500 Fat-Free Recipes Crystal Billy 700 Sundays Kean Thomas H. 9/11 Commission Report Canfield Jack & Mark Victor Hansen A 2nd Helping of Chicken Soup for the Soul Canfield Jack & Mark Victor Hansen A 3rd Serving of Chicken Soup for the Soul Canfield Jack & Mark Victor Hansen A 4th Course of Chicken Soup for the Soul Canfield Jack & Mark Victor Hansen A 5th Portion of Chicken Soup for the Soul Naipaul V.S. A Bend in the River Ryan Cornelius A Bridge Too Far Greene Graham A Burnt-out Case Christie Agatha A Carribbean Mystery Hess Lilo A Cat's Nine Lives Deaver Jessery A Century of Great Suspense Stories James P.D. -
Vanessa Kingsley - Poems
Poetry Series Vanessa Kingsley - poems - Publication Date: 2009 Publisher: Poemhunter.com - The World's Poetry Archive Vanessa Kingsley(March 16th) Born on March 16th in Colorado Springs, Colorado, I love antyhing dealing with the arts. Writing, acting, singing....it doesn't matter. It's creative and a way to express yourself. I am a very compliacted person but once you admit to yourself that I'm just me it'll all click. I am an all around girl. Meaning I can survive in the city, country, suburbs, wherever. I am a very understanding person that can see all perspectives of life because of what has happened in my life. Currently, i have a few people looking at my writing for publishment so if that does happen everything here will be deleted. If you wish to know more about me please message me. ^_^ thanks for reading and i hope you enjoy something I've written www.PoemHunter.com - The World's Poetry Archive 1 60 Seconds (Part One=maybe) To say how you feel To see if it's real You have only 60 seconds To give yourself up Permanently close up? Only 60 seconds To right your wongs Make more mistakes Create a new song To write about what you wish you could've done Pray to the morning sun Breathe one more breath before its gone You have 60 seconds To tell us all goodbye To finally die You have 60 seconds To laugh To cry To say your last words 60 seconds The clock is ticking Round and Round Your muscles twitching Pain is heightened Or eases slightly 60 seconds 60 seconds 60 seconds www.PoemHunter.com - The World's Poetry Archive 2 ***dedicated to my nana because towards the end of the poem I had a very de ja vu like moment about the two of us and a discussion we had. -
Towards the Theories and Practice of the Dance Art
International Journal of Humanities and Social Science Vol. 4 No. 4 [Special Issue – February 2014] Towards the Theories and Practice of the Dance Art Uji Charles, PhD Awuawuer Tijime Justin Department of Dramatic Arts Obafemi Awolowo University Ile-Ife, Osun State, Nigeria. Abstract The issues confronted by most choreographers, dance teachers and dance critics are the problems relating to the theories and practice of dance as an art, vis-à-vis conceptualizing it as an arts genre that permeates all facets of human life and culture without recourse to the fact that like any other art, dance is entirely within the domains of theories. Even most choreographers and dancers ‘believe’ that they are outside of theory, outside of discourse, in the pure domain of technique, effect, or communication. To this end, four theories are identified in this paper as fundamental models in the theory and practice of dance. These theories are philosophical aesthetic theory; choreologists aesthetic theory; sociological aesthetic theory; and medical/therapeutic dance theory. Thus, various functionalities of dance will be discussed in relation to specific theories that are afore mentioned. After a critical discourse, this paper positions dance as an art, ritual, or recreation that goes beyond the functional purposes of the movements used in work or athletics in order to express emotions, moods, or ideas; tell a story; serve religious, political, economic, or social needs; or simply be an experience that is pleasurable, exciting, or aesthetically valuable. Thus, the desire of this paper is to unravel the mystery behind the mastery and the mystery of human movement and to encourage wider participation in the art of dance as any artistic genre. -
{DOWNLOAD} Love Is a Mix Tape: a Memoir Kindle
LOVE IS A MIX TAPE: A MEMOIR PDF, EPUB, EBOOK Rob Sheffield | 240 pages | 04 Mar 2010 | Little, Brown Book Group | 9780749928759 | English | London, United Kingdom Love Is a Mix Tape by Rob Sheffield: | : Books She had a solemn look in her eyes. She was wearing a Bob Jones University sweatshirt. I remembered being a kid, standing on the bridge over the Pine Tree Brook, when we would find a wax six-ring holder from a six-pack the older kids had killed. We would touch a match to one corner, hold it over the water, and just watch it drip, drip, drip. Six rings of wax, twisting and contorting permanently, doing a spastic death dance like the one Christopher Lee does at the end in Horror Of Dracula when the sunlight hits him. The minutes dripped by, each one totally bending and twisting my shape. We stopped getting up to flip the tape, and just listened to dead air. I could already tell there were things happening deep inside me that were irreversible. I remembering that we discussed The Towering Inferno that night, the scene with Steve McQueen, the valiant firefighter, and William Holden, the evil tycoon who owns the hotel. And all fires are bad! Home 1 Books 2. Read an excerpt of this book! Add to Wishlist. Sign in to Purchase Instantly. Members save with free shipping everyday! See details. For Rob Sheffield, that time was one of miraculous love and unbearable grief. A time that spanned seven years, it started when he met the girl of his dreams, and ended when he watched her die in his arms. -
Department of Music & Dance
Department of Music & Dance Fall 2017 College of Humanities & Fine Arts Fanfare HE ARTS ARE ESSENTIAL in our lives, and we are thriving at the University of Massachusetts Amherst. As I complete my first year as chair of the Department of Music and Dance, I am fully realizing how privileged I am to lead such distinguished faculty, dedicated staff, and talented students. My initial impressions of the department’s excel- Tlence, vibrancy, and artistic achievement have proven to be right on the mark. As you will learn from this issue of Fanfare, the past year has been an active and productive one. Although, like all arts departments in institutions of higher education, we are facing challenges, this is an outstanding place in which musi- cians and dancers are flourishing. I am especially pleased that we continue to work together to make meaningful strides in advancing our already first-rate programs. We have hired new faculty and staff who will help to enrich the educational experiences we offer students. We are reaching out to our sister arts departments of theater and visual arts to forge new collaborations. We are working with the College of Humanities and Fine Arts to enhance the profile of the Department of Music and Dance within the university, the region, and the nation. In sum, our future is a bright one. Our students continue to achieve national distinction. Our faculty continue to prosper as creative artists and to share their artistry near and far. As I continue my efforts during the coming year to assist students and colleagues in developing shared visions, fulfilling professional aspirations, and pursuing artistic and academic goals, I invite you to join me.