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— 1 — 1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, Private Collection) the Tempest (1611) Is the Last P
1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, private collection) The Tempest (1611) is the last play which Shakespeare wrote alone. It has been described as the most musical of his works, on account of the number of songs in the text, the interpolated masque in the last act, and because it works less through cause and effect than through enchantment, an intrinsically musical quality. It is the only play for which we have any of the original stage music. And according to Wikipedia, it has inspired over four dozen operatic or musical settings. As early as the mid-seventeenth century, managements were adapting the play as a kind of masque, rather than performing the original. 3. Ariel’s Tempest in Columbia I’m also somewhat familiar with it myself. I directed the first performance of The Tempest by American composer Lee Hoiby in the late 1980s, and wrote my own adaptation in 2011 for composer Douglas Allan Buchanan, a 60-minute condensation that we toured to young audiences all over Maryland. 4. Round table discussion at the Met But the version we are watching today is the work of the two people in the middle of this picture: composer/conductor Thomas Adès (b.1971) and the Australian playwright Meredith Oakes (b.1946), seen here with Met General Manager Peter Gelb and stage director Robert Lepage. The picture comes from an intermission feature in the Met’s 2012 Live-in-HD transmission of the opera; I thought of playing it, but it is hard to hear and rather light on information. -
“Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
“Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man. -
Module A: Tempest and Hag-Seed Essay
MODULE A: TEMPEST AND HAG-SEED ESSAY • Textual conversations allow audiences to understand and appreciate changes in attitudes and values over time, by considering the resonances and dissonances that exist between texts. • This is evident when comparing William Shakespeare’s tragicomedy, The Tempest, with Margaret Atwood’s postmodernist appropriation, Hag- Seed. • Both composers communicate the different attitudes and perspectives towards similar concepts of humanity, exploring values of x in their respective context. • Ultimately, this enhances our understanding of these ideas, while also demonstrating how perspectives on social and historical contexts can change over time. • The Tempest explores themes of power and literal imprisonment through its setting and characters. • This is evident in Prospero’s enslavement of Caliban, a native of the island, who is referred to as a “poisonous slave, got by the devil himself”. • Prospero’s use of derogatory language and animalistic imagery, symbolises the negative attitudes of colonisers towards natives in the 1600s. • Caliban’s submissiveness, which is due to a paralysing fear of Prospero’s magic, “I must obey. His art is of such power”, further symbolises this power imbalance between colonisers and natives. • Power and imprisonment are further explored through Prospero. Prospero himself, experiences the retribution of power after being exiled by his “unlawful brother”, Antonio. • Prospero presents Antonio as a brother “so perfidious!”, symbolising his anger and desire for vengeance after 12 years of being imprisoned on the island. • The opening stage directions ‘a tempestuous noise of thunder and lightning’ symbolically introduces the disruption to natural order of the Jacobean chain of being through Prospero’s sovereign overthrow, stimulating the desire for revenge. -
Self-Organizing Systems in Planetary Physics: Harmonic Resonances Of
Self-Organizing Systems in Planetary Physics : Harmonic Resonances of Planet and Moon Orbits Markus J. Aschwanden1 1) Lockheed Martin, Solar and Astrophysics Laboratory, Org. A021S, Bldg. 252, 3251 Hanover St., Palo Alto, CA 94304, USA; e-mail: [email protected] ABSTRACT The geometric arrangement of planet and moon orbits into a regularly spaced pattern of distances is the result of a self-organizing system. The positive feedback mechanism that operates a self-organizing system is accomplished by harmonic orbit resonances, leading to long-term stable planet and moon orbits in solar or stellar systems. The distance pattern of planets was originally described by the empirical Titius-Bode law, and by a generalized version with a constant geometric progression factor (corresponding to logarithmic spacing). We find that the orbital periods Ti and planet distances Ri from the Sun are not consistent with logarithmic spacing, 2/3 2/3 but rather follow the quantized scaling (Ri+1/Ri) = (Ti+1/Ti) = (Hi+1/Hi) , where the harmonic ratios are given by five dominant resonances, namely (Hi+1 : Hi)=(3:2), (5 : 3), (2 : 1), (5 : 2), (3 : 1). We find that the orbital period ratios tend to follow the quantized harmonic ratios in increasing order. We apply this harmonic orbit resonance model to the planets and moons in our solar system, and to the exo-planets of 55 Cnc and HD 10180 planetary systems. The model allows us a prediction of missing planets in each planetary system, based on the quasi- regular self-organizing pattern of harmonic orbit resonance zones. We predict 7 (and 4) missing exo-planets around the star 55 Cnc (and HD 10180). -
The Tempest by William Shake Peare an SFA School Ofnleau-E Production W
Stephen F. Austin State University College of Fine Arts and School of Theatre present TilE TEMEST ~ ?()~cS~ Produced by the SFA School of Theatre Nov. 15-19, 2005, 7:30 p.m. W.M. Turner Auditorium Sponsored in part by MAKE THE ROAD YOUR CANVAS. THE DRIVE, YOUR WORK OF ART. The University Series 2005-2006 The Hottest Ticket in Town! The Art Center and Griffith Gallery are open Tuesday through Sunday, 12:30-5 p.m. All performance at 7:30 p.m. September 9 - October 16 SFA FacuLt)' Exhibitioll The AJt Center eptember 16 - October 16 Barry Alldersoll: Epic Escapism & Suspellsion Griffith Gallely and chool ofAJt Gallely o lober 15 Stars alld Stripes Forel1er: A Patriotic Review featUJ;ng the FA A Cappella Choir W. M. Tumer AuditOl;um October 27 Betty BuckLey: Deep ill the Heart W. M. TUl11er Auditorium November 15 -19 The Tempest by William Shake peare an SFA School ofnleau-e Production W. M. TumerAuditOl;UJll November 29 The Salzburg Mariollettes pl-esenting Tile Magic Flute by W. A. MOZm1 W. M. Tumer AuditOl;um January 31 Ballet Hispallico W. M. TumerAuditorium February 8 - March 26 III the Path ofthe Blaue Reiter Gemlan Expressionist Portfolios. l1;nts and Books Griffith Gallery February 21 - 25 The ight ofthe Igualla by Tennes ee Williams an SFA chool ofTheau'e Production W. M. Tumer Auditorium March 6 Salzburg Chamber Soloists with Piallist Alldreas Kleill W. M. TumerAuditorium March 23 Los Hombres Calielltes W. M. Tumer Auditorium April 6 - 8 SFA Opera an SFA School of Music and School ofTheau'e l1'oduction W. -
“From Strange to Stranger”: the Problem of Romance on the Shakespearean Stage
“From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jeffrey Knapp, Chair Professor Oliver Arnold Professor David Landreth Professor Timothy Hampton Summer 2018 “From strange to stranger”: The Problem of Romance on the Shakespearean Stage © 2018 by Aileen Young Liu 1 Abstract “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu Doctor of Philosophy in English Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Jeffrey Knapp, Chair Long scorned for their strange inconsistencies and implausibilities, Shakespeare’s romance plays have enjoyed a robust critical reconsideration in the twentieth and twenty-first centuries. But in the course of reclaiming Pericles, The Winter’s Tale, Cymbeline, and The Tempest as significant works of art, this revisionary critical tradition has effaced the very qualities that make these plays so important to our understanding of Shakespeare’s career and to the development of English Renaissance drama: their belatedness and their overt strangeness. While Shakespeare’s earlier plays take pains to integrate and subsume their narrative romance sources into dramatic form, his late romance plays take exactly the opposite approach: they foreground, even exacerbate, the tension between romance and drama. Verisimilitude is a challenge endemic to theater as an embodied medium, but Shakespeare’s romance plays brazenly alert their audiences to the incredible. -
Download College
PiperISSUE 50 OCTOBER 2013 Old Collegian Grant Dalton Tenacious, ethical, dignified - we’re proud of you! A MAGAZINE FOR THE Saint Kentigern SAINT KENTIGERN COMMUNITY College 36 College 'A Champion Mindset' his term was first coined in 1998 by Dr Allan Snyder, Director of TCentre for the Mind at The University of Sydney. 'Great achievers have a vision that they will succeed and sometimes even see the steps leading to their success. So, in my opinion, what makes a champion, and I mean a champion in the broadest sense, is a champion mindset. And, if you have done something great in one field, you are more able to do it in another. Your champion mindset is the transferable commodity and not the skill itself. It is our mindsets which ultimately limit our expectations of ourselves and which circumscribe our boundaries. It is our mindsets which determine whether or not we have the courage to challenge others and to expand our horizons.' At Saint Kentigern we celebrate each student’s uniqueness and recognise that each has something new and different to offer. We encourage them to have the courage to confront and challenge conventional wisdom and urge them to constantly seek to expand their horizons. We encourage resilience – the ability to bounce back from disappointment, to learn from their mistakes and come back the stronger for it. A challenge will look and feel different to each of us, especially to our young people who face greater challenges in 2013 that we all did in the past. Today’s 95 Years of Service students have a wealth of opportunities to choose from, both at school and in their local community, and sometimes put themselves under pressure by taking oday the College recognised four members of staff who between on too wide a range of activities. -
Current Understandings and Future Perspectives for Research of Icy Moons
Current understandings and future perspectives for research of icy moons Jun Kimura Osaka University Is there a life elsewhere in the universe? Pursuing this question is a fundamental part for human beings, and a clue to the answer of this question may be found on the icy moons around giant planets. After magnificent achievements of the Cassini, Galileo and Voyager spacecraft missions, the existence of a thick liquid water layer underneath solid ice crusts with various icy tectonic features has been inferred for several icy moons. Such liquid layers are now understood as subsurface oceans. To date, the evidence for oceans is not fully conclusive and mainly based on electro-magnetic induction signals, surface morphology and thermal modeling. In addition, hydrated salts on surface and water pluming including non-water volatiles and organics support to exist the subsurface ocean and the environment to emerge and sustain life there. In the following, I review our current knowledge for the icy moons in terms of interior, surface tectonics, chemical composition and habitability, and also present possible science research targets and exploration missions in future. On each giant planet system, only one or two explorations have been performed to date. No spacecraft explorations orbiting icy moons have not yet been achieved and there are still many big issues to be solved for direct investigation of extra-terrestrial life. ⽔星 惑星・準惑星・ (直径150km以上の) 衛星 ⾦星 地球系 ⽕星系 ⽊星系 ⼟星系 天王星系 海王星系 カイパーベルト Pluto Amalthea Janus 衛星研究の現状と将来展望 Eris Haumea Makemake Larissa -
Architecture for Going to the Outer Solar System
ARGOSY ARGOSY: ARchitecture for Going to the Outer solar SYstem Ralph L. McNutt Jr. ll solar system objects are, in principle, targets for human in situ exploration. ARGOSY (ARchitecture for Going to the Outer solar SYstem) addresses anew the problem of human exploration to the outer planets. The ARGOSY architecture approach is scalable in size and power so that increasingly distant destinations—the systems of Jupiter, Saturn, Uranus, and Neptune—can be reached with the same crew size and time require- ments. To enable such missions, achievable technologies with appropriate margins must be used to construct a viable technical approach at the systems level. ARGOSY thus takes the step past Mars in addressing the most difficult part of the Vision for Space AExploration: To extend human presence across the solar system. INTRODUCTION The Vision for Space Exploration “The reasonable man adapts himself to the world: the unreason- 2. Extend human presence across the solar system, start- able one persists in trying to adapt the world to himself. Therefore ing with a return to the Moon by the year 2020, in 1 all progress depends on the unreasonable man.” preparation for human exploration of Mars and other G. B. Shaw destinations 3. Develop the innovative technologies, knowledge, On 14 January 2004, President Bush proposed a new and infrastructures to explore and support decisions four-point Vision for Space Exploration for NASA.2 about destinations for human exploration 1. Implement a sustained and affordable human and 4. Promote international and commercial participation robotic program to explore the solar system and in exploration to further U.S. -
Oswaal ISC Board Solved Paper 2020 English Paper 2 (Literature), Class
ISC Solved Paper, 2020* Class-XII English Paper - 2 (Literature) (Prescribed Textbooks) (Maximum Marks: 100) (Time allowed: Three hours) (Candidates are allowed additional 15 minutes for only reading the paper. They must NOT start writing during this time.) Answer one question from Section A and four questions from Section B. In Section B choose questions on at least three textbooks which may include EITHER Shakespeare’s The Tempest OR Bernard Shaw’s Candida Note: You are required to select questions on one play only. EITHER The Tempest OR Candida in Sections A and B. The intended marks for questions or parts of questions are given in brackets[ ]. SECTION 'A' (Answer one question) THE TEMPEST – Shakespeare Question 1 Choose two of the passage (a) to (c) and answer briefly the questions that follow: (a) Prospero : This blue-eyed hag was hither brought with child, And here was left by th’ sailors. Thou, my slave, As thou report’st thyself, was then her servant, And for thou wast a spirit too delicate To act her earthy and abhorr’d commands, Refusing her grand hests, she did confine thee, By help of her more potent ministers And in her most unmitigable rage, Into a cloven pine…. (i) What leads Prospero to talk about the ‘blue-eyed hag’? [1] (ii) Why was she brought to this island? [2] (iii) What account do we get of Ariel’s suffering in the cloven pine? Who had saved him and how? [2] (iv) How does Prospero describe the hag’s son? [2] (v) What does Prospero threaten to do to Ariel now? What effect does his threat have on Ariel? [2] (vi) Give the meanings of the following words in the context of the passage: [1] Abhorr’d, cloven (b) Caliban : I prithee let me bring thee where crabs grow, And I with my long nails will dig thee pig-nuts, Show thee a jay’s nest, and instruct thee how To snare the nimble marmoset. -
Moving Through Time and Race: Othello and the Tempest Adapted for New Millennials
Master’s Degree programme in European, American and Postcolonial Language and Literature Second Cycle (D.M. 270/2004) Final Thesis Moving through Time and Race: Othello and The Tempest adapted for New Millennials Supervisor Ch. Prof. Laura Tosi Assistant supervisor Ch. Prof. Shaul Bassi Graduand Beatrice Boccardo Matriculation Number 987897 Academic Year 2017 / 2018 1 Contents INTRODUCTION…………………………………………………………………….3 CHAPTER 1. What is lost and gained in adaptation: Shakespeare and popular culture….7 1.1 Introducing Shakespeare to young adults………………………………………...7 1.1.1 Adapting for the young: some preliminary considerations on canonicity…………7 1.1.2 The strategies of Shakespearean adaptations……………………………………..12 1.1.3 Adopting and adapting Shakespeare for millennials: the role of Young Adult literature………………………………………………………………………………...18 1.2 Rewording Shakespeare: fanfiction as an act of re-creation of performing readers…………………………………………………………………………………27 1.2.1 Fantasies and fanfictions…………………………………………………………27 1.2.2 Shakespeare and his “Bardies”…………………………………………………...31 1.3 Educational applications and implications of adapting Shakespeare…………37 1.3.1 Shakespeare enters the classroom: adaptation as a didactic approach…………...37 1.3.2 The challenges of teaching and learning Shakespeare in the New Millennium….41 CHAPTER 2. Unsettled selves and multidimensional others in Tracy Chevalier’s New Boy, Grace Tiffany’s Ariel and Jacqueline Carey’s Miranda and Caliban……….48 2.1 Reforming and “reformatting” Othello and Caliban: the politics of equality..48 2.1.1 The black man’s burden: Othello’s and Caliban’s political bodies………………48 2.1.2 Plays and playgrounds: the “outcast” in Chevalier’s New Boy…………………..59 2.1.3 Adolescence and monstrosity: Tiffany’s and Carey’s Calibans………………….76 2.2 Adults’ weakness and cruelty in New Boy and Miranda and Caliban………….89 2.3 Feminist tempests: unruly Mirandas and Ariels………………………………..99 2 CHAPTER 3. -
Uranian and Saturnian Satellites in Comparison
Compara've Planetology between the Uranian and Saturnian Satellite Systems - Focus on Ariel Oberon Umbriel Titania Ariel Miranda Puck Julie Cas'llo-Rogez1 and Elizabeth Turtle2 1 – JPL, California Ins'tute of Technology 2 – APL, John HopKins University 1 Objecves Revisit observa'ons of Voyager in the Uranian system in the light of Cassini-Huygens’ results – Constrain planetary subnebula, satellites, and rings system origin – Evaluate satellites’ poten'al for endogenic and geological ac'vity Uranian Satellite System • Large popula'on • System architecture almost similar to Saturn’s – “small” < 200 Km embedded in rings – “medium-sized” > 200 Km diameter – No “large” satellite – Irregular satellites • Rela'vely high albedo • CO2 ice, possibly ammonia hydrates Daphnis in Keeler gap Accre'on in Rings? Charnoz et al. (2011) Charnoz et al., Icarus, in press) Porco et al. (2007) ) 3 Ariel Titania Oberon Density(kg/m Umbriel Configuraon determined by 'dal interac'on with Saturn Configura'on determined by 'dal interac'on within the rings Distance to Planet (Rp) Configuraon determined by Titania Oberon Ariel 'dal interac'on with Saturn Umbriel Configura'on determined by 'dal interac'on within the rings Distance to Planet (Rp) Evidence for Ac'vity? “Blue” ring found in both systems Product of Enceladus’ outgassing ac'vity Associated with Mab in Uranus’ system, but source if TBD Evidence for past episode of ac'vity in Uranus’ satellite? Saturn’s and Uranus’ rings systems – both planets are scaled to the same size (Hammel 2006) Ariel • Comparatively low