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Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
Tom Stoppard Writer
Tom Stoppard Writer Please send all permissions and press requests to [email protected] Agents St John Donald Associate Agent Jonny Jones [email protected] +44 (0) 20 3214 0928 Anthony Jones Associate Agent Danielle Walker [email protected] +44 (0) 20 3214 0858 Rose Cobbe Assistant Florence Hyde [email protected] +44 (0) 20 3214 0957 Credits Film Production Company Notes United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] ANNA KARENINA Working Title/Universal/Focus Screenplay from the novel by 2012 Features Tolstoy Directed by Joe Wright Produced by Tim Bevan, Paul Webster with Keira Knightley, Jude Law, Aaron Taylor-Johnson *Nominated for Outstanding British Film, BAFTA 2013 ENIGMA Intermedia/Paramount Screenplay from the novel by 2001 Robert Harris Directed by Michael Apted Produced by Mick Jagger, Lorne Michaels with Kate Winslet, Dougray Scott, Saffron Burrows VATEL Legende/Miramax English adaptation 2000 Directed by Roland Joffe Produced by Alain Goldman with Uma Thurman, Gerard Depardieu, Tom Roth United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] SHAKESPEARE IN LOVE Miramax Screenplay from Marc Norman 1998 Directed by John Madden Produced by Donna Gigliotti, David Parfitt, Harvey Weinstein, Edward Zwick with Gwyneth Paltrow and Joseph Fiennes * Winner of a South Bank Show Award for Cinema 2000 * Winner of Best Screenplay, Evening Standard -
Anderton, Marja Arendina Louise (1994) the Power to Destroy False Images: Eight British Women Writers and Society 1945-1968
Anderton, Marja Arendina Louise (1994) The power to destroy false images: eight British women writers and society 1945-1968. PhD thesis http://theses.gla.ac.uk/4409/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] THE POWER TO DESTROY FALSE IMAGES: Eight British Women Writers and Society 1945-1968 Marja Arendina Louise Anderton Thesis submitted for the degree of Doctor of Philosophy Department of Sociology, University of Glasgow February 1994 @M.A.L. Anderton 1994 Acknowledgements As this thesis was written over several years and in a period of great change in my life, I feel that at this pOint I ought to express my gratitude to the people who encouraged me not to give up. First of all, of course, this is my supervisor, Barbara Littlewood, who very kindly helped me wherever she could in spite of the great distance between us for most of the time. Secondly, I would like to thank Iris Murdoch, Penelope Mortimer, A.S. Byatt, and Margaret Drabble for allowing me to use their correspondence here. -
The Cambridge Companion to Tom Stoppard Edited by Katherine E
Cambridge University Press 0521645921 - The Cambridge Companion to Tom Stoppard Edited by Katherine E. Kelly Excerpt More information PAUL DELANEY Chronology 1937 Stoppard born Tomásˇ Straüssler (3 July), the second son of Eugen and Martha Straüssler in Zlín, Czechoslovakia, where his father was a physician for Bata, a shoe manufacturer. 1939 The day the Nazis invade Czechoslovakia (14 March), the Straüsslers leave Zlín, with other Jewish doctors who worked for Bata, to go to Singapore. 1942 Briefly attends an English convent school in Singapore. When women and children are evacuated prior to the Japanese inva- sion, four-year-old Tomásˇalong with his mother and brother leaves for India; his father remains behind and is killed. 1943–46 Attends an English-speaking boarding school run by American Methodists in Darjeeling; his mother serves as manager of the local Bata shoe shop. 1945 Mother marries Kenneth Stoppard, a British Army major (November). 1946 Family moves to England (February) and three weeks later Major Stoppard adopts his two stepsons, giving them his surname; Tommy Straüssler becomes Tom Stoppard. 1946–51 Attends the Dolphin School, Nottinghamshire. 1951–54 Attends the Pocklington School, Yorkshire. 1950 Stoppard family moves to Bristol. 1954–58 Stoppard becomes a journalist on the Western Daily Press. Kenneth Tynan serves as drama critic on the Observer. 1954–60 Stoppard attends productions at the Bristol Old Vic. 1955 First British production, directed by Peter Hall, of Samuel Beckett’s Waiting for Godot, which Stoppard cites as the cat- alyst for modern British drama. 1956 The Royal Court production of John Osborne’s Look Back in Anger acclaimed by critic Kenneth Tynan. -
Introduction: Stoppardianism
Cambridge University Press 978-1-107-02195-2 - The Cambridge Introduction to Tom Stoppard William W. Demastes Excerpt More information Introduction: Stoppardianism I admit it looks odd. The question is does it look odd enough? The Dog It Was That Died (18) Mix vaudevillian slapstick with crisp, witty banter. Add a song or two in the style of Gilbert and Sullivan. Try doing a whole scene in limericks. How about a shell game using humans popping in and out of shower stalls? Maybe add some really funny Communist Bloc shenanigans. Set it on a verandah in India, or on a transatlantic passenger liner, or in nineteenth-century Vienna, or in the secret byways of Elsinore Castle. Why not open eyes with a striptease act on a flying trapeze? Maybe parody the work of Agatha Christie. Or play fast and loose with Oscar Wilde. How about tapping into chaos theory or quantum mechanics? How about trying three full-length plays dedicated to the nineteenth-century Russian intelligentsia? Or how about taking on Shakespeare himself? And always leave your audiences wondering whether they have just been educated or entertained, in the end allowing for the like- lihood of both. In a nutshell, that is the theatre of Tom Stoppard.1 Stoppard has been going strong since the 1960s, generating five decades of consistently good theatre throughout. Consider his breakthrough Rosencrantz and Guildenstern Are Dead (1966), an award-winning “first” play that has hardly seen a day since its premiere when it was not being performed somewhere in the world. It was followed by the 1970s masterpieces Jumpers (1972)andTravesties (1974), which, combined with Rosencrantz and Guildenstern Are Dead,would by themselves have been sufficient to rate Stoppard a major playwright. -
The Fellows of the American Bar Foundation
THE FELLOWS OF THE AMERICAN BAR FOUNDATION 2013 2013-2014 Fellows Officers: Chair Don Slesnick Chair – Elect Kathleen J. Hopkins Secretary Hon. Cara Lee T. Neville (Ret.) The Fellows is an honorary organization of attorneys, judges and law professors whose professional, public and private careers have demonstrated outstanding dedication to the welfare of their communities and to the highest principles of the legal profession. Established in 1955, The Fellows encourage and support the research program of the American Bar Foundation. The American Bar Foundation works to advance justice through research on law, legal institutions, and legal processes. Current research covers such topics as access to justice, diversity in the legal profession, parental incarceration and its effects on children, how global norms are produced for international trade law, African Americans’ participation in law at the local level from the Civil War to the beginnings of the modern civil rights movement, lawyers’ political mobilization in the Chinese criminal justice system, end of life decision-making, and investment in early childhood education. The Fellows of the American Bar Foundation 750 N. Lake Shore Drive, 4th Floor Chicago, IL 60611 (800) 292-5065 Fax: (312) 564-8910 [email protected] www.americanbarfoundation.org OFFICERS AND DIRECTORS OF THE OFFICERS OF THE FELLOWS AMERICAN BAR FOUNDATION Don Slesnick, Chair Hon. Bernice B. Donald, President Slesnick & Casey LLP David A. Collins, Vice-President 2701 Ponce De Leon Boulevard, Suite 200 George S. Frazza, Treasurer Coral Gables, FL 33134-6041 Ellen J. Flannery, Secretary Office: (305) 448-5672 Robert L. Nelson, ABF Director [email protected] Susan Frelich Appleton Jimmy K. -
The Global Journal of Literary Studies I Volume II, Issue I I February
The Global Journal of Literary Studies I Volume II, Issue I I February 2016 ISSN : 2395 4817 The Global Journal of Literary Studies I February 2016 I Vol. II, Issue I I ISSN : 2395 4817 Contextual and Intertextual Refractions in Tom Stoppard’s screenplay for Shakespeare in Love Dr Anita Manuel Professor KCG College of Technology Chennai, INDIA. Dr Rosalia Bonjour Professor Saveetha Engineering College Chennai, INDIA. Ms Rajitha K Assistant Professor VIT University Chennai, INDIA. Abstract There have been many and varied adaptations of Shakespeare’s plays for the screen, enhancing as critics have pointed out, the cultural value of the cinema thereby changing the contemporary estimation of film as a low- culture medium. In 1999 Shakespeare in Love, scripted by one of the leading British Playwrights Tom Stoppard, was released to great critical and popular acclaim going on to win an impressive tally of awards (7), including the Golden Globe Award and the Academy Award for Best Original Screen play. One of the chief pleasures of watching the movie comes from our recognition of playwrights and familiar lines from plays subtly interwoven into the script. And for those in the know, the parallels with Stoppard’s own life. The contextual and intertextual refractions in the movie are without doubt the reason for its great success. The paper looks at the various screenplays by Stoppard, and shows how the film Shakespeare in Love provided an entry into what was perceived as the high culture represented by Shakespeare. The paper analyses how the movie presents to the viewer glimpses of the Elizabethan era, Renaissance Drama, Shakespeare’s plays, Shakespeare the individual and the playwright whose plays have enthralled generations of theatre goers. -
Allied Social Science Associations Program
Allied Social Science Associations Program Chicago, IL January 6–8, 2017 Contract negotiations, management and meeting arrangements for ASSA meetings are conducted by the American Economic Association. Participants should be aware that the media has open access to all sessions and events at the meetings. i ASSA.indb i 11/21/16 10:58 AM Thanks to the 2017 American Economic Association Program Committee Members Alvin Roth, Chair Atila Abdulkadiroglu Daron Acemoglu Marianne Bertrand John Campbell Dave Donaldson Erica Field Amy Finkelstein Roland Fryer Joshua Gans Fatih Guvenen Hilary Hoynes Nicola Lacetera Muriel Niederle Nathan Nunn Jack Porter Cover Art—“Chicago at Twilight” by Kevin E. Cahill (Colored Pencil, 15” x 20”). Kevin is a research economist with the Center on Aging & Work at Boston College and a project director with ECONorthwest. Kevin invites you to visit his personal website at www.kcahillstudios.com. ii ASSA.indb ii 11/21/16 10:58 AM Contents General Information. .iv ASSA Hotels . viii Listing of Advertisers and Exhibitors . xxxi ASSA Executive Offi cers. .xxxiv Summary of Sessions by Organization . xxxviii Daily Program of Events . 1 AEA Poster Session . 28 Program of Sessions Thursday, January 5 . 65 Friday, January 6 . 66 Saturday, January 7 . 182 Sunday, January 8 . 301 Subject Area Index. 375 Index of Participants . 378 iii ASSA.indb iii 11/21/16 10:58 AM General Information PROGRAM SCHEDULES A listing of sessions where papers will be presented and another covering activities such as business meetings and receptions are provided in this program. Admittance is limited to those wearing badges. Each listing is arranged chronologically by date and time of the activity. -
Cinematheque De Nice
CINÉMATHÈQUE DE NICE Le 7ème Art a une histoire 5 AVRIL 2 MAI 2017 LE MEILLEUR DU CINÉMA EUROPÉEN... Allemagne : « Lolas » France : « César » - Fritz Bauer, un héros allemand - Divines Angleterre : « BAFTA » Irlande : « IFTAs » - The Lobster - Room Autriche : Italie : « David Di Donatello » « Österreichischer Filmpreis » - Les Âmes noires - Goodnight Mommy - Tale of Tales Belgique : « Magritte » Portugal : « Prémios Sophia » - Les Premiers les derniers - L’Ornithologue Danemark : « Roberts » Roumanie : « Premiile Gopo » - Hijacking - Papa vient le dimanche Espagne : « Premios Goya » Suède : « Guldbagge » - Truman - Snow Therapy - Éclairage intime - La Femme du dimanche - Le Grondement de la montagne - Indochine SÉANCES SPÉCIALES - Mauvais Sang - Point limite zéro Pour en (sa)Voir plus - Une Anglaise romantique MAX LINDER - Vacances à Venise - Soyez ma femme - L’Étroit mousquetaire LES INDISPENSABLES COMÉDIE MUSICALE - 8½ - Gloria - La 317eme section - Le Gouffre aux chimères - Le Milliardaire - Peine d’amour perdues - 2001 : l’Odyssée de l’espace - Macadam Cowboy - Les Amants du Capricorne - Main basse sur la ville SUPER-HÉROS - La Dame sans camélias - Le Salon de musique - The Green Hornet - Ant-Man ET ANIMATION POUR ADULTE - Anomalisa - Mr. Nobody - Anomalisa - Dans les forêts de Sibérie - Paulina - La Tortue rouge - Divines - La Tortue rouge - La Fille inconnue - Toto le héros LE CINÉMA AU CINÉMA - The Lobster - Un Jour avec, un jour sans - 8½ - Médecin de campagne - Une Vie - La Dame sans camélia Le CINE-CLUB de JEAN DOUCHET JEUDI 6 AVRIL 20H Analyse filmique d’un INCONTOURNABLE de l’Histoire du cinéma Les Amants du Capricorne d’Alfred Hitchcock Séance présentée et commentée par JEAN DOUCHET, critique, historien, cinéaste et enseignant de cinéma. CINECRAN JEUDI 20 AVRIL 18H30 CONFERENCE de Christian VIVIANI - “Le cinéma au cinéma” Professeur émérite d’Histoire du cinéma à l’Université, spécialiste du cinéma américain et de l’acteur, coordinateur et rédacteur de la revue Positif.