A TALE by ALINA UDREA
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Robert Kelly
1 Robert Kelly MAY DAY Poems 2003-2005 Originally published by the Parsifal Press, Toronto 2007 Now made readable on line. 2 Copyright © 2007, 2009 by Robert Kelly Some of these poems were first printed elsewhere … for example in Capitalism Nature Socialism (Joel Kovel), Conjunctions (Bradford Morrow), Elixir (Zia Inayat Khan), First Intensity (Lee Chapman ), The Modern Review (Simone dos Anjos and Pietro Aman), Irish Poetry Review (Peter Sirr), The Bard Papers (Alexandra Dumont), New Politics (Marvin Mandell and Betty Reid Mandell) The 2007 Alhambra Poetry Calendar (Shafiq Naz). For help in the selection and ordering of some of these poems, I owe a debt to the tuneful ears and lucid reading of Simone dos Anjos, the founder of Parsifal Press, and first publisher of this collection. 3 Skies? We make those lights. Nature is our half-remembered dream. for Charlotte 4 CONTENTS Elegies for Osiris 6 Lovecraft 9 The Flies of October 10 Night Grammar 12 A Theory of Leaf Management 13 Rembrandt’s Raising of Lazarus, 1642 17 The Poor Land of Tyrol 18 The Politics of You 20 Twelfth Night 22 Identity 24 History Lesson 25 Some words I say come out all wrong 26 Early Dutch Breakfast Paintings 27 Tumult spirit 28 Young lionesses patrol 29 The Construction of Hell 30 You read me shallowly these days 31 An Elegy for Wolves 32 Brahms, String Quartet No.1 in c, Op.51 36 When boys were named Lester and girls were called Kate 37 Oblation 38 1878 Brown Street 39 We say he went to heaven 40 A Writing with John Clare 41 May Day 42 Science 44 The Daybed 45 The -
Im Auftrag: Medienagentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected]
im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected] The Kinks At The BBC (Box – lim. Import) VÖ: 14. August 2012 CD1 10. I'm A Lover, Not A Fighter - Saturday Club - Piccadilly Studios, 1964 1. Interview: Meet The Kinks ' Saturday Club 11. Interview: Ray Talks About The USA ' -The Playhouse Theatre, 1964 Saturday Club - Piccadilly Studios, 1964 2. Cadillac ' Saturday Club - The Playhouse 12. I've Got That Feeling ' Saturday Club - Theatre, 1964 Piccadilly Studios, 1964 3. Interview: Ray Talks About 'You Really Got 13. All Day And All Of The Night ' Saturday Club Me' ' Saturday Club The Playhouse Theatre, - Piccadilly Studios, 1964 1964 14. You Shouldn't Be Sad ' Saturday Club - 4. You Really Got Me ' Saturday Club - The Maida Vale Studios, 1965 Playhouse Theatre, September 1964 15. Interview: Ray Talks About Records ' 5. Little Queenie ' Saturday Club - The Saturday Club - Maida Vale Studios, 1965 Playhouse Theatre, 1964 16. Tired Of Waiting For You - Saturday Club - 6. I'm A Lover Not A Fighter ' Top Gear - The Maida Vale Studios, 1965 Playhouse Theatre, 1964 17. Everybody's Gonna Be Happy ' Saturday 7. Interview: The Shaggy Set ' Top Gear - The Club -Maida Vale Studios, 1965 Playhouse Theatre, 1964 18. This Strange Effect ' 'You Really Got.' - 8. You Really Got Me ' Top Gear - The Aeolian Hall, 1965 Playhouse Theatre, October 1964 19. Interview: Ray Talks About "See My Friends" 9. All Day And All Of The Night ' Top Gear - The ' 'You Really Got.' Aeolian Hall, 1965 Playhouse Theatre, 1964 20. See My Friends ' 'You Really Got.' Aeolian Hall, 1965 1969 21. -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
A Hard Day's Night the Beatles 1964 All Day and All of The
A hard day’s night The Beatles 1964 All day and all of the night The Kinks 1964 All my lovin The Beatles 1963 Back home Golden Earring 1970 Black magic woman/ Oye Como Va/ Jingo/ Evil Ways Santana 1969/70/71 Brown eyed girl Van Morrison 1967 Brown Sugar The Rolling Stones 1971 Born to be wild Steppenwolf 1969 Chains The Beatles 1963 Coming into Los Angeles* Arlo Guthrie 1969 Come Together The Beatles 1969 Darlin The Beach Boys 1967 Down Down Status Quo 1974 Eight days a week The Beatles 1964 Friday on my mind The Easybeats 1967 Gloria Them 1966 Get Back The Beatles 1969 Hair Zen 1969 Here comes the sun The Beatles 1969 Honky Tonk woman The Rolling Stones 1969 Horse with no name* America 1972 Hotel California The Eagles 1977 Hush Billy Joe Royal/Kula Shaker 1967 (I Can’t Get No) SATISFACTION The Rolling Stones 1965 I’m a believer The Monkees 1966 It never rains in California Albert Hammond 1972 I saw her standing there The Beatles 1963 Johnny B Goode Chuck Berry 1958 Light my fire The Doors 1967 Money Pink Floyd 1973 Mothers little helper The Rolling Stones 1966 Mr. Tambourine man The Byrds 1965 Mrs. VanderBilt Wings 1973 Oh Carol The Rolling Stones 1964 Old Man* Neil Young 1972 Out on the weekend* Neil Young 1972 Paint it Black The Rolling Stones 1966 Pretty woman Roy Orbison 1964 Roll over Beethoven Chuck Berry 1956 Roll over lay down Status Quo 1975 Medley Stones Rolling Stones Sloop John B The Beach Boys 1965 Smoke on the water Deep Purple 1972 Summer in the city The Loving Spoonful 1966 Sunny Afternoon* The Kinks 1966 Take it easy -
THE GOSPEL According to Spiritism
THE GOSPEL According to Spiritism Allan Kardec THE GOSPEL ACCORDING TO SPIRITISM Contains explanations of the moral maxims of Christ in accordance with Spiritism and their application in various circumstances in life. by ALLAN KARDEC Author of THE SPIRITS’ BOOK Unshakable faith is only that which can meet reason face to face in every Human epoch. ____________ This English translation is taken from the 3rd edition of the original French, as being the one containing all of Allan Kardec’s final revisions, published in 1866. L’ÉVANGILE SELON LE SPIRITISME CONTENANT L’EXPLICATION DES MAXIMES MORALES DU CHRIST LEUR CONCORDANCE AVEC LE SPIRITISME ET LEUR APPLICATION AUX DIVERSES POSITIONS DE LA VIE PAR ALLAN KARDEC Auteur du Livre des Esprits. Il n’y a de foi inébranlable que celle qui peut regarder la raison face à face, à tous les àges de l’humanité. _____________ T R O I S I È M E É D I T I O N REVUÉ, CORRIGÉE ET MODIFIÉE. _______________ P A R I S LES ÉDITEURS DU LIVRE DES ESPRITS 35, QUAI DES AUGUSTINS DENTU, FRÉD, HENRI, libraires, au Palais-Royal Et au bureau de la REVUE SPIRITE, 59, rue et passage Saint-Anne 1866 Réserve de tous droits. (Facsimile of original) Original title ‘L’Évangile Selon le Spiritisme’ first published in France, 1864. 1st Edition of this translation 1987 TRANSLATORS COPYRIGHT © J. A. Duncan, 1987 All rights reserved. ISBN 947823 09 3 Cover design by Helen Ann Blair Typesetting and Artwork by Mainline Typesetting Services Unit 2, Millside Industrial Estate, Southmill Road, Bishop’s Stortford, Herts. -
The Strawberry Statement: Notes of a College Revolutionary
Vietnam Generation Volume 3 Number 1 Swords into Ploughshares: A "Home Front" Article 6 Anthology 1-1990 The trS awberry Statement: Notes of a College Revolutionary James S. Kunen Follow this and additional works at: http://digitalcommons.lasalle.edu/vietnamgeneration Part of the American Studies Commons Recommended Citation Kunen, James S. (1990) "The trS awberry Statement: Notes of a College Revolutionary," Vietnam Generation: Vol. 3 : No. 1 , Article 6. Available at: http://digitalcommons.lasalle.edu/vietnamgeneration/vol3/iss1/6 This Article is brought to you for free and open access by La Salle University Digital Commons. It has been accepted for inclusion in Vietnam Generation by an authorized editor of La Salle University Digital Commons. For more information, please contact [email protected]. ThE STAwbERRy S ta tem en t: No tes of a C o U eq e R evolutionary J a m es S. K unen InAprill968, riotseruptedonthecampusofColumbiaovertheUniversity’s building a new gymnasium at nearby Momingside Park. A group of protesters lead by Mark Rudd, head of the Columbia chapter of the Students fo r a Democratic Society (SDS), wanted to block the construction because it deprived the Harlem community of recreational space. The dissidents, including off-campus protesters and black leaders, also demanded that Columbia end its ties with the Institute of Defense Analysis (IDA) because of an alleged connection with the Vietnam war. James S. Kunen, a student and writer, chronicled these events in The Strawberry Statement. Columbia used to be called King’s College. They changed the name in 1784 because they wanted to be patriotic and Columbia means America. -
Six Sixty-Minute Mystery Plays
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2005 Six sixty-minute mystery plays Peter David Walther The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Walther, Peter David, "Six sixty-minute mystery plays" (2005). Graduate Student Theses, Dissertations, & Professional Papers. 3575. https://scholarworks.umt.edu/etd/3575 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature** Yes, I grant permission No, I do not grant permission Author's Signature^ Date: T)ec- "Xo ^oST" Any copying for commercial purposes or financial gain may be undertaken only with the author's explifcit consent. 8/98 Six Sixty-Minute Mystery Plays By Peter David Walther B.A. Carroll College, 1984 Presented in partial fulfillment of the requirements For the degree of Master of Arts The University of Montana December 2005 Appro ve< 'hai rson Dean, Graduate School »Z- <5- Og Date UMI Number: EP34065 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. -
The Theory and Practice of the Sense of Immediacy in Fiction
THE THEORY AND PRACTICE OF THE SENSE OF IMMEDIACY IN FICTION APPROVED i Major Professor Consultintiltingg Proiessor Minor Professor Chairman of th^Department of English Deaniof the Graduate School THE THEORY AND PRACTICE OP THE SENSE OF IMMEDIACY IN FICTION THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER.OF ARTS By Wayne Fordham, B, A, Denton, Texas August, 1970 TABLE OF CONTENTS Chapter Page I, SARAH 1 II. THE SENSE OF IMMEDIACY IN FICTION Zk III. WE THREE kO BIBLIOGRAPHY 90 iii CHAPTER I SARAH I. The setting sun cast long lean shadows from the tall pines, broad ones from their crucified limbs. The shadows extended across a small lake reaching the opposite shore, making their way towards a small farm house where, on a screened-in wooden porch, two men sat. One man was old. His back was to the sun and he rocked in a wooden rocking chair. The other man was mid- dle-aged. He sat in a straight-backed wooden chair. He faced the setting sun, his face caught in it, burning in it, reddened and inflamed by it and if someone had said you are in hell he would have understood. The old man rocked quietly, relaxed. The middle-aged man sat uncomfortably, expectantly. The old man said, "That guhl had one cooking in the oven before she even knew where the batter come from." Only minutes before the old man had had to get up to throw a rock at a coal black, crow which had landed in the front yard. -
The Book of the Thousand Nights and a Night, Volume 4 by Richard F
The Book of the Thousand Nights and a Night, Volume 4 by Richard F. Burton The Book of the Thousand Nights and a Night, Volume 4 by Richard F. Burton This etext was produced by J.C. Byers at [email protected]. Proofreaders were: J.C. Byers, Norm Wolcott, Dianne Doefler and Charles Wilson. This etext was scanned by J.C. Byers (www.capitalnet.com/~jcbyers/index.htm) and proofread by Doris Ringbloom THE BOOK OF THE THOUSAND NIGHTS AND A NIGHT A Plain and Literal Translation of the Arabian Nights Entertainments Translated and Annotated by Richard F. Burton VOLUME FOUR To Foster Fitzgerald Arbuthnot. page 1 / 487 My Dear Arbuthnot, I have no fear that a friend, whose friendship has lasted nearly a third of a century, will misunderstand my reasons for inscribing his name upon these pages. You have lived long enough in the East and, as your writings show, observantly enough, to detect the pearl which lurks in the kitchen-midden, and to note that its lustre is not dimmed nor its value diminished by its unclean surroundings. Ever yours sincerely, Richard F. Burton. Contents of the Fourth Volume Tale of Kamar Al-Zaman (continued) a. Ni'amar Bin Al-Rabi'a and Naomi His Slave-girl b. Conclusion of the Tale of Kamar Al-Zaman 22. Ala Al-Din Abu Al-Shamat 23. Hatim of the Trive of Tayy 24. Ma'an the Son of Zaidah 25. Ma'an the Son of Zaidah and the Badawi 26. The City of Labtayt page 2 / 487 27. The Caliph Hisham and the Arab Youth 28. -
CAPERNAUM (CHAOS) Screenplay by Nadine Labaki Jihad Hojeily
CAPERNAUM (CHAOS) NadineScreenplay Labaki by Jihad Hojeily Michelle Keserwani 1. INT. DAY – UNSANITARY POLICE DETENTION CENTER 1. In a small unsanitary office, used as a police station, stands Zain, a skinny 12-year-old boy, slightly hunchbacked, wearing only his dirty underwear and looking lost. The boy stands there with his mouth wide open while a 40-year-old doctor examines his teeth like one examines a lab rat. DOCTOR (TALKING TO ZAIN) Tilt your head up. DOCTOR (TALKING TO ANOTHER MAN OFF CAMERA) He's lost his baby teeth. I'd say he's at least 12 years old, maybe 13. 2. INT. DAY- POLICE STATION 2. Several arrested migrant workers from Sri Lanka, Ethiopia, and Africa standing and looking defeated. OFFICER (TALKING TO THE WOMEN) Michelle, the Philippina? Michelle? What's your last name? Family name? MICHELLE Sedad. OFFICER Sedad. Do you have a passport? Residence permit? MICHELLE At my Madame's house. OFFICER Lama Bekoum. Who's Lama? Lama, are you pregnant? LAMA Yes. OFFICER How many months? LAMA Seven months. OFFICER Okay, CARITAS will see you now. Among the women, a young Ethiopian girl – Tigest (Rahil) – with short hair seems in shock more than others, but she tries to control herself. She has a dripping black mark on her cheek. OFFICER Who's Tigest Ailo? The Ethiopian, Tigest Ailo? OFFICER (TALKING TO TIGEST) Are you Tigest? TIGEST Yes. OPENING CREDITS 3. A. INT.DAY- PRISON FOR MINORS 3. Escorted and handcuffed by a guard, Zain is walking down the hallway. A chaotic atmosphere fills the hall. -
Wallenstein a Dramatic Poem
Open Book Classics Wallenstein A Dramatic Poem FRIEDRICH SCHILLER TRANSLATED BY FLORA KIMMICH, WITH AN INTRODUCTION BY ROGER PAULIN To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/513 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. ONLINE SURVEY In collaboration with Unglue.it we have set up a survey (only ten questions!) to learn more about how open access ebooks are discovered and used. We really value your participation, please take part! CLICK HERE Wallenstein A Dramatic Poem By Friedrich Schiller Translation and Notes to the Text by Flora Kimmich Introduction by Roger Paulin https://www.openbookpublishers.com Translation and Notes to the Text © 2017 Flora Kimmich. Introduction © 2017 Roger Paulin. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Friedrich Schiller. Wallenstein: A Dramatic Poem. Translation and Notes to the Text by Flora Kimmich. Introduction by Roger Paulin. Cambridge, UK: Open Book Publishers, 2017. http://dx.doi.org/10.11647/OBP.0101 -
Sourdough's Place
26 MANUSCRIPTS SOURDOUGH'S PLACE MARTHA MOLDT I don't guess it's every kid that gets to spend a night at Old Dead Sourdough's place. I'm really pretty lucky, I guess. I mean, most kids' parents are very restrictive--real uptight about letting their experience if he's going to be a world famous writer someday. Some kids's parents are very restrictive-real uptight about letting their little darling go someplace where he might get a hair on his dear head bent out of round or something. Like Bert's mom, for instance. Bert Littlefield. He's my best friend. My mom laughs because Bert's so short and skinny-he'd be fatter I guess except that he runs around all the time like somebody wound up his mainspring too tight. He talks all the time, too. Some- times I just have to turn him off. You know-go read a book or something. It doesn't bother Bert, though. He keeps burbling on and on, just like somebody was listening all the time. I've got to admit, most of the time he has good ideas. I get a lot of my plots out of Bert. If you can stand the jabber long enough, you find out that Bert is really a very creative guy. But his mother ... she's about as sensitive as a dead rat! My mom laughs at us because Bert and I are such a crazy combination. I guess she has got a point-I'm tall and sort of fat (Mom says to say "stocky"), and I'd rather have my nose in a book than almost anything, but Bert and me--we do ok.