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Read Book the Westminster Alice : a Political Parody Based on Lewis Carrolls Wonderland
THE WESTMINSTER ALICE : A POLITICAL PARODY BASED ON LEWIS CARROLLS WONDERLAND Author: Hector Hugh Munro (Saki) Number of Pages: 98 pages Published Date: 01 Aug 2010 Publisher: Evertype Publication Country: United Kingdom Language: English ISBN: 9781904808541 DOWNLOAD: THE WESTMINSTER ALICE : A POLITICAL PARODY BASED ON LEWIS CARROLLS WONDERLAND The Westminster Alice : A Political Parody Based on Lewis Carrolls Wonderland PDF Book Starratt's focus on leadership as human resource development will energize the efforts of faculty, staff, and students to improve the quality of learning-the primary work of schools. This will enable me to give more time to the discussion of those methods, the utility of which is still an open question. You'll find yourself basking in God's love while giving it away. No matter what your background is, this book will enable you to master Excel 2016's most advanced features. To this end they have gathered together a distinguished group of economists, sociologists, political scientists, and organization, innovation and institutional theorists to both assess current research on innovation, and to set out a new research agenda. She then traveled to Manhattan to attend Columbia College of Physicians and Surgeons. Visit GiftOfLogic. But the policy changes made between 2007 and 2010 will likely constrain any new initiatives in the future. Then,afteratwo-weekelectronic discussion, the Programme Committee selected 33 papers for presentation at the conference. (New Scientist) The book certainly merits its acceptance as essential reading for postgraduates and will be valuable to anyone associated in any way with research or with presentation of technical or scientific information of any kind. -
La Narrativa De Tom Sharpe: Entre Lafarsa Y La Sátira
La narrativa de Tom Sharpe: Entre la farsa y la sátira Luis Alberto Lázaro Lafuente Para gran parte de la crítica Tom Sharpe es un famoso autor de divertidas novelas en donde predomina el chiste fácil, el enredo y la farsa, más que los procedimientos retóricos y el talante propios de la sátira canónica. Frecuentemente nos encontramos con opiniones que defmen cualquiera de sus obras como «asombro• sa y disparatada farsa novelesca» (Urioste 34) o «a black comedy that securely established his reputation as a comic writer» (Midgley 7). Asimismo, en los comen• tarios de las contraportadas de sus obras, tomados de resefias literarias de conocidos periódicos británicos, entre los que se encuentranDairy Telegraph, Tribune, Guardian, Listener, Sunday Times, etc., aparecen expresiones tales como «superb farce», «boisterous knockabout farce», «a crackling, spitting, murderously funny farce», «a lusty and delightfully lunatic fantas)'», «ahighly intelligent funny book», «deliciously English comedy». Rara vez tenemos la ocasión de ver el término «sátira»; de vez en cuando oimos alguna voz que le llama «satirical farceUD>(Shrimpton 45) o define sus novelas como «the sharp mixture of comedy and cruelty, sex and satire» (Hewison 1280), pero pocos son los críticos que utilizan esta palabra para referirse a las obras de Tom Sharpe. Cabría entonces preguntarse si novelas como Riotous Assembly, Wilt o Ancestral Vices pueden ocupar un sitio dentro de la tradición satirica de la literatura inglesa, o si por el contrario hay que catalogarlas únicamente como entretenidas farsas novelescas propias de la literatura de humor. Para dar respuesta a esta pregunta, primero hay que intentar, en pocas palabras, delimitar los dominios de la sátira, empresa nada fácil que requiere una gran capacidad de síntesis y algo de audacia. -
Some Thoughts On… Far from the Madding Crowd and Its Adaptations Quelques Réflexions Sur… Far from the Madding Crowd Et Ses Adaptations
FATHOM a French e-journal of Thomas Hardy studies 3 | 2016 The Hollow Amid the Text Some Thoughts on… Far from the Madding Crowd and its Adaptations Quelques réflexions sur… Far from the Madding Crowd et ses adaptations Laurence Estanove Electronic version URL: http://journals.openedition.org/fathom/592 DOI: 10.4000/fathom.592 ISSN: 2270-6798 Publisher Association française sur les études sur Thomas Hardy Electronic reference Laurence Estanove, « Some Thoughts on… Far from the Madding Crowd and its Adaptations », FATHOM [Online], 3 | 2016, Online since 30 April 2016, connection on 20 April 2019. URL : http:// journals.openedition.org/fathom/592 ; DOI : 10.4000/fathom.592 This text was automatically generated on 20 April 2019. Some Thoughts on… Far from the Madding Crowd and its Adaptations 1 Some Thoughts on… Far from the Madding Crowd and its Adaptations Quelques réflexions sur… Far from the Madding Crowd et ses adaptations Laurence Estanove Introduction: “Bringing Shepherd Back” 1 In the whole of Hardy’s work, Far from the Madding Crowd is probably, today, the novel that has entailed the most numerous adaptations, or at least adaptations of the most various kinds. The multiplication of those in very recent years may naturally be said to testify to the modernity of Hardy’s writing. But one might also wonder what attracted a variety of artistic practices in that particular novel of Hardy’s, while others, such as Tess, have enjoyed a greater popularity yet generated a more restricted number of adaptations. To this day, four filmmakers as well as one cartoonist and one opera composer have made Hardy’s fourth novel their own. -
Download the Catalogue
Five Hundred Years of Fine, Fancy and Frivolous Bindings George bayntun Manvers Street • Bath • BA1 1JW • UK Tel: 01225 466000 • Fax: 01225 482122 Email: [email protected] www.georgebayntun.com BOUND BY BROCA 1. AINSWORTH (William Harrison). The Miser's Daughter: A Tale. 20 engraved plates by George Cruikshank. First Edition. Three volumes. 8vo. [198 x 120 x 66 mm]. vii, [i], 296 pp; iv, 291 pp; iv, 311 pp. Bound c.1900 by L. Broca (signed on the front endleaves) in half red goatskin, marbled paper sides, the spines divided into six panels with gilt compartments, lettered in the second and third and dated at the foot, the others tooled with a rose and leaves on a dotted background, marbled endleaves, top edges gilt. (The paper sides slightly rubbed). [ebc2209]. London: [by T. C. Savill for] Cunningham and Mortimer, 1842. £750 A fine copy in a very handsome binding. Lucien Broca was a Frenchman who came to London to work for Antoine Chatelin, and from 1876 to 1889 he was in partnership with Simon Kaufmann. From 1890 he appears under his own name in Shaftesbury Avenue, and in 1901 he was at Percy Street, calling himself an "Art Binder". He was recognised as a superb trade finisher, and Marianne Tidcombe has confirmed that he actually executed most of Sarah Prideaux's bindings from the mid-1890s. Circular leather bookplate of Alexander Lawson Duncan of Jordanstone House, Perthshire. STENCILLED CALF 2. AKENSIDE (Mark). The Poems. Fine mezzotint frontispiece portrait by Fisher after Pond. First Collected Edition. 4to. [300 x 240 x 42 mm]. -
British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
L'exemple De Gemma Bovery De Posy Simmonds
Synergies Espagne n° 14 - 2021 p. 25-41 GERFLINTGERFLINT Adapter l’ironie flaubertienne : l’exemple ISSN 1961-9359 de Gemma Bovery de Posy Simmonds ISSN en ligne 2260-6513 Marina Isabel Caballero Muñoz Université de Séville, Espagne [email protected] https://orcid.org/0000-0002-7680-3534 Reçu le 04-11-2020 / Évalué le 12-12-2020 / Accepté le 17-03-2021 Résumé Gustave Flaubert a refusé d’illustrer ses livres tout au long de sa vie ; une attitude qui contraste, paradoxalement, avec les nombreuses occasions où ses œuvres ont été adaptées aux formats graphiques et cinématographiques. Dans l’univers de la narration graphique, nous trouvons Gemma Bovery (2014) de Posy Simmonds, actuel- lement le seul roman graphique inspiré du chef-d’œuvre Madame Bovary (1857) de Gustave Flaubert. L’objectif du présent article est d’étudier l’ironie flaubertienne comme source de l’humour de Posy Simmonds dans Gemma Bovery (2014). D’abord, nous contextualiserons notre étude dans le domaine des adaptations, de la bande dessinée et du roman graphique à partir des ouvrages et des auteurs clés. Ensuite, dans une partie méthodologique, nous essayerons de définir brièvement le concept d’ironie ainsi que les différents concepts qui peuvent la déclencher dans un texte littéraire. Finalement, dans l’analyse proposée, nous étudierons la présence de l’ironie flaubertienne de la forme au contenu de ce roman graphique, afin d’observer également son originalité. Mots-clés : Adaptation, roman graphique, Posy Simmonds, Gemma Bovery, Madame Bovary Adaptar la ironía flaubertiana: el ejemplo de Gemma Bovery de Posy Simmonds Resumen Gustave Flaubert rechazó ilustrar sus libros durante toda su vida. -
Saki / H.H. Munro 1870-1916 Bios
Saki / H.H. Munro 1870-1916 Bios http://www.litgothic.com/Authors/saki.html Up to now, little has been known about Hector Hugh Munro except that he used the pen name “Saki”; that he wrote a number of witty short stories, two novels, several plays, and a history of Russia; and that he was killed in World War I. His friend Rothay Reynolds published “A Memoir of H. H. Munro” in Saki’s The Toys of Peace (1919), and Munro’s sister Ethel furnished a brief “Biography of Saki” for a posthumous collection of his work entitled The Square Egg and Other Sketches (1924). A. J. Langguth’s Saki is the first full-length biography of the man who, during his brief writing career, published a succession of bright, satirical, and sometimes perfectly crafted short stories that have entertained and amused readers in many countries for well over a half-century. Hector Munro was the third child of Charles Augustus Munro, a British police officer in Burma, and his wife Mary Frances. The children were all born in Burma. Pregnant with her fourth child, Mrs. Munro was brought with the children to live with her husband’s family in England until the child arrived. Frightened by the charge of a runaway cow on a country lane, Mrs. Munro died after a miscarriage. Since the widowed father had to return to Burma, the children — Charles, Ethel, and Hector — were left with their Munro grandmother and her two dominating and mutually antagonistic spinster daughters, Charlotte (“Aunt Tom”) and Augusta. This situation would years later provide incidents, characters, and themes for a number of Hector Munro’s short stories as well as this epitaph for Augusta by Ethel: “A woman of ungovernable temper, of fierce likes and dislikes, imperious, a moral coward, possessing no brains worth speaking of, and a primitive disposition. -
Male Novel Reading of the 1790S, Gothic Literature, and Northanger
Male Novel t Reading of the 1790s, :L Gothic Literature, i and Northanger Abbey ALBERT C. SEARS Albert C. Sears is a doctoral candidate in English at Lehigh University. His dissertation investigates the Victorian sensation novel in the literary marketplace. Bookseller records from Timothy Stevens of Cirencester, Gloucestershire, and Thomas Hookham and James Carpenter of London offer new insights into the fiction reading habits of men dur- ing the 1790s.1 Indeed, the Stevens records suggest that Henry Tilney’s emphatic statement in Northanger Abbey (written 1798) that men “‘read nearly as many [novels] as women’” (107) may not be entirely fictional.2 What is more, male patrons of Stevens’s bookshop and library seem to have particularly enjoyed the Gothic as did Tilney, who states: “The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid. I have read all Mrs. Radcliffe’s works, and most of them with great pleasure. The Mysteries of Udolpho, when I had once begun it, I could not lay down again;—I remember finishing it in two days—my hair standing on end the whole time.” (106) However, while Austen’s depiction of male novel reading may be accurate for Gloucestershire, the Hookham records yield little evi- dence that the majority of men in fashionable London enjoyed novels as much as Tilney. 106 PERSUASIONS No. 21 The Stevens records, which extend from 1780 to 1806, do show that men borrowed and bought more fiction than women during the last decade of the eighteenth century. During the 1790s, the shop had approximately seventy male patrons (includ- ing book clubs) who borrowed and/or purchased fiction. -
Books, Maps and Photographs
BOOKS, MAPS AND PHOTOGRAPHS Tuesday 25 November 2014 Oxford BOOKS, MAPS AND PHOTOGRAPHS | Oxford | Tuesday 25 November 2014 | Tuesday | Oxford 21832 BOOKS, MAPS AND PHOTOGRAPHS Tuesday 25 November 2014 at 11.00 Oxford BONHAMS Live online bidding is CUstomER SErvICES Important INFormatION Banbury Road available for this sale Monday to Friday 8.30 to 18.00 The United States Shipton on Cherwell Please email bids@bonhams. +44 (0) 20 7447 7447 Government has banned the Kidlington com with ‘live bidding’ in the import of ivory into the USA. Oxford OX5 1JH subject line 48 hours before the Please see page 2 for bidder Lots containing ivory are bonhams.com auction to register for this information including after-sale indicated by the symbol Ф service collection and shipment printed beside the lot number VIEWING in this catalogue. Saturday 22 November 09.00 to Please note we only accept SHIPPING AND COLLECTIONS 12.00 telephone bids for lots with a Oxford Monday 24 November 09.00 to low estimate of £500 or Georgina Roberts 16.30 higher. Tuesday 25 November limited +44 (0) 1865 853 647 [email protected] viewing 09.00 to 10.30 EnQUIRIES Oxford BIDS London John Walwyn-Jones +44 (0) 20 7447 7448 Jennifer Ebrey Georgina Roberts +44 (0) 20 7447 7401 fax +44 (0) 20 7393 3841 Sian Wainwright To bid via the internet please [email protected] +44 (0) 1865 853 646 visit bonhams.com +44 (0) 1865 853 647 Please see back of catalogue +44 (0) 1865 853 648 Please note that bids should be for important notice to +44 (0) 1865 372 722 fax submitted no later than 24 hours bidders prior to the sale. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
HMV Group Plc Annual Report and Accounts 2008
HMV Group plc Annual report and accounts 2008 WorldReginfo - 9d3f2226-e4b0-4464-9ca9-1b3d376456f2 Financial summary 2008 Total sales from continuing operations of £1,874.9m (up 11.3% on 2007), including like for like growth of 7.3% Profit before tax and exceptional items from continuing operations up 25.2% to £56.6m (2007: £45.2m) Exceptional profit after tax on disposal of HMV Japan of £51.8m Adjusted earnings per share from continuing HMV Waterstone’s operations of 10.1p (2007: 7.4p). Total basic HMV is the leading specialist Waterstone’s is the UK’s earnings per share of 22.1p (2007: 4.0p) entertainment retailer in leading specialist high street five territories. It operates bookseller, whose brand is Net debt virtually eliminated at £0.2m from 379 stores and online synonymous with range authority (2007: £130.6m) in the UK & Ireland, Canada, and quality of customer advice. Hong Kong and Singapore. It operates through 313 stores, Final dividend of 5.6p, making a total dividend predominantly in the UK of 7.4p (2007: 7.4p) & Ireland, and online through waterstones.com Contents 01 Introduction 02 Chairman’s statement 04 Business and financial review: 04 Our business and markets 06 Strategic review 10 Group performance 16 Board of Directors 18 Corporate governance 22 Directors’ remuneration report 32 Corporate responsibility 36 Directors’ report 41 Independent auditors’ report to the members of HMV Group plc 42 Consolidated income statements 44 Statements of recognised income and expense 45 Balance sheets 46 Cash flow statements 47 Notes to the financial statements 88 Group financial record 89 Store directory 92 Shareholder information 92 Company information WorldReginfo - 9d3f2226-e4b0-4464-9ca9-1b3d376456f2 Introduction This year we put into action our three-year transformation plan. -
Mod Drama 49 1 Spring 2006-Prel.P65
#4 Cognitive Catharsis in The Caucasian Chalk Circle1 R. DARREN GOBERT In Bertolt Brecht’s 1930 Lehrstück [learning play] The Measures Taken, the Four Agitators relate to the Control Chorus (and their offstage audience) the events leading up to their killing of the Young Comrade, whose violation of the teachings of Communism has endangered their cause and justified his sac- rifice. During their propaganda efforts, they explain, [W]e went down into the lower section of the city. Coolies were dragging a barge with a rope. But the ground on the bank was slippery. So when one of them slipped, and the overseer hit him, we said to the Young Comrade: “Go after them, make propaganda among them after work. But don’t give way to pity!” And we asked: “Do you agree to it?” And he agreed to it and hurried away and at once gave way to pity. (Measures 84)2 The Young Comrade’s first misstep – significantly, an acquiescence to pity – figures as a moment of peripeteia, demarcating, in Aristotle’s terms, the end of the play’s involvement. The Agitators’ denunciation of pity (which consti- tutes one pillar of their juridical defense) is upheld in the play’s unraveling, in which the Control Chorus adjudges the killing justified: “We agree to what you have done” (Measures 108). Thus, The Measures Taken, which has been called the “classic tragedy of Communism,” seems to make susceptibility to pity the Young Comrade’s hamartia, reversing his fortunes and leading to his expulsion from the collective (Sokel 133).3 Brecht here employs his customary sly irony, echoing the tragic form while signaling the Lehrstück’s militancy against Aristotle by castigating pity, one of the constituent elements of katharsis as well as its enabling precondition.