The Messiah of the Poor: Valjean's Eventful Journey from Hell To
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Les Mis Education Study Guide.Indd
And remember The truth that once was spoken, To love another person Is to see the face of God. THE CHARACTERS QUESTIONS / • In the end, what does Jean society who have lost their DISCUSSION IDEAS Valjean prove with his life? humanity and become brutes. Are there people in our society • Javert is a watchdog of the legal who fi t this description? • What is Hugo’s view of human process. He applies the letter nature? Is it naturally good, of the law to every lawbreaker, • Compare Marius as a romantic fl awed by original sin, or without exception. Should he hero with the romantic heroes of somewhere between the two? have applied other standards to a other books, plays or poems of man like Jean Valjean? the romantic period. • Describe how Hugo uses his characters to describe his view • Today, many believe, like Javert, • What would Eponine’s life have of human nature. How does that no mercy should be shown been like if she had not been each character represent another to criminals. Do you agree with killed at the barricade? facet of Hugo’s view? this? Why? • Although they are only on stage • Discuss Hugo’s undying belief • What does Javert say about his a brief time, both Fantine and that man can become perfect. past that is a clue to his nature? Gavroche have vital roles to How does Jean Valjean’s life play in Les Misérables and a illustrate this belief? • What fi nally destroys Javert? deep impact on the audience. Hugo says he is “an owl forced What makes them such powerful to gaze with an eagle.” What characters? What do they have does this mean? in common? Name some other • Discuss the Thénardiers as characters from literature that individuals living in a savage appear for a short time, but have a lasting impact. -
Jean Valjean, After Spending Nineteen Years in Jail and in the Galleys For
Les Miserables by Victor Hugo – A Summary (summary from http://education.yahoo.com/homework_help/cliffsnotes/les_miserables/4.html) Jean Valjean, after spending nineteen years in jail and in the galleys for stealing a loaf of bread to feed his starving family (and for several attempts to escape) is finally released, but his past keeps haunting him. At Digne, he is repeatedly refused shelter for the night. Only the saintly bishop, Monseigneur Myriel, welcomes him. Valjean repays his host's hospitality by stealing his silverware. When the police bring him back, the bishop protects his errant guest by pretending that the silverware is a gift. With a pious lie, he convinces them that the convict has promised to reform. After one more theft, Jean Valjean does indeed repent. Under the name of M. Madeleine he starts a factory and brings prosperity to the town of Montreuil. Alone and burdened with an illegitimate child, Fantine is on the way back to her hometown of Montreuil, to find a job. On the road, she entrusts her daughter to an innkeeper and his wife, the Thénardiers. In Montreuil, Fantine finds a job in Madeleine's (Valjean’s) factory and attains a modicum of prosperity. Unfortunately she is fired after it is discovered that she has an illegitimate child. At the same time, she must meet increasing financial demands by the Thénardiers. Defeated by her difficulties, Fantine turns to prostitution. Tormented by a local idler, she causes a disturbance and is arrested by Inspector Javert. Only Madeleine's (Valjean’s) forceful intervention keeps her out of jail. -
Les Mis, Lyrics
LES MISERABLES Herbert Kretzmer (DISC ONE) ACT ONE 1. PROLOGUE (WORK SONG) CHAIN GANG Look down, look down Don't look 'em in the eye Look down, look down You're here until you die. The sun is strong It's hot as hell below Look down, look down There's twenty years to go. I've done no wrong Sweet Jesus, hear my prayer Look down, look down Sweet Jesus doesn't care I know she'll wait I know that she'll be true Look down, look down They've all forgotten you When I get free You won't see me 'Ere for dust Look down, look down Don't look 'em in the eye. !! Les Miserables!!Page 2 How long, 0 Lord, Before you let me die? Look down, look down You'll always be a slave Look down, look down, You're standing in your grave. JAVERT Now bring me prisoner 24601 Your time is up And your parole's begun You know what that means, VALJEAN Yes, it means I'm free. JAVERT No! It means You get Your yellow ticket-of-leave You are a thief. VALJEAN I stole a loaf of bread. JAVERT You robbed a house. VALJEAN I broke a window pane. My sister's child was close to death And we were starving. !! Les Miserables!!Page 3 JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those 19 years A slave of the law. JAVERT Five years for what you did The rest because you tried to run Yes, 24601. -
Agape Love and Les Mis
Agape Love and Les Mis Prepared by Veronica Burchard Lesson Overview Lesson Details In this unit, students learn about agape or Subject area(s): English, Film, Religion, Living sacrificial love by viewing, discussing, and as a Disciple of Jesus Christ in Society, writing about the film (or play) Les Miserables, Responding to the Call of Jesus Christ , Social based on the novel by Victor Hugo. I used the Justice Tom Hooper film starring Hugh Jackman and Anne Hathaway. Grade Level: High School Since the film is long and can be hard to follow, Resource Type: Close Reading/Reflection, we watched it in short bursts, pausing to clarify Discussion Guide, Video characters and situations however needed. After each viewing session we spent several Special Learners days talking about the plot, characters, settings, This resource was developed with the following and so forth. My main goal was to make sure special learners in mind: they understood what was happening in each scene, and how each scene related to the Traditional Classroom whole. We would also listen to the songs Homeschooled Students together. This lesson desribes the process we followed and includes a unit assessment with a character quote matching exercise, reflection questions, and two essay questions. The author of this lesson shared it with other educators within the Sophia Institute for Teachers Catholic Curriculum Exchange. Find more resources and share your own at https://www.SophiaInstituteforTeachers.org. Lesson Plan In this unit, students learn about agape or sacrificial love by viewing, discussing, and writing about the film (or play) Les Miserables, based on the novel by Victor Hugo. -
“Je Me Nomme Thénardier”: Through the Melodramatic Mirror
“JE ME NOMME THÉNARDIER”: THROUGH THE MELODRAMATIC MIRROR by AMY ELLEN LAWS (Under the Direction of Timothy Raser) ABSTRACT The name Thénardier has become a synonym for “evil” as a result of Victor Hugo’s melodramatic characterization of Monsieur and Madame Thénardier in Les Misérables. Describing these characters in exquisite detail and revealing nearly countless evil deeds, the reader is left wondering how a couple capable of such deplorable acts could ever find redemption in what seems like a state of absolute evil. Upon closer examination of the melodramatic genre and Hugo’s own insertions through the lines of his characters and his poetry, he reveals the answer. The reader must decide if any of the characters in his novel are absolutely good or evil, and whether, in the melodramatic world, absolutes are even required. INDEX WORDS: Victor Hugo, Thénardier, melodrama, redemption, Les Misérables, Les Miz “JE ME NOMME THÉNARDIER”: THROUGH THE MELODRAMATIC MIRROR by AMY ELLEN LAWS B.A. East Tennessee State University, 2005 M.A.T. East Tennessee State University, 2009 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2015 © 2015 Amy Ellen Laws All Rights Reserved “JE ME NOMME THÉNARDIER”: THROUGH THE MELODRAMATIC MIRROR by AMY ELLEN LAWS Major Professor: Timothy Raser Committee: Catherine M. Jones Jonathan F. Krell Electronic Version Approved: Julie Coffield Interim Dean of the Graduate School The University of Georgia May 2015 iv DEDICATION This thesis is dedicated to my parents, Johnny and Sandy Laws. -
Français V Les Misérables : Review Activity
Je m’appelle: __________________________________ La date: ____________________ Français V Les Misérables : Review activity LES PERSONNAGES 1. Pourquoi est-ce que Jean Valjean était en prison? Parce qu’il a volé un pain pour nourrir sa famille 2. Jean Valjean a passé combien de temps au bagne? 19 ans 3. Qui est Monseigneur Myriel? Il est l’évêque de Digne 4. Que vole Jean Valjean dans maison de l’évêque? l’argenterie 5. Qu’est-ce que l’évêque de Digne fait promettre à Jean Valjean? De devenir un homme honnete. 6. Comment s’appellent les filles de Madame Thénardiers? Éponine et Azelma 7. Où est-ce que Fantine travaille? Dans une usine 8. Pourquoi est-ce que Fantine perd son travail? parce qu’elle a un enfant illégitime 9. Qui est « La dame » ? La poupée de Cosette 10. Comment s’appelle le grand-père de Marius? Monsieur Gillenormand 11. Pourquoi est-ce que le grand père de Marius l’a chassé de sa maison? Parce que Marius devient un révolutionnaire comme son père. 12. Quel est le nom de la jeune fille avec qui Marius tombe amoureuse ? Cosette 13. Qui sont en réalité « Les Jondrettes » ? Les Thénardiers 14. Après avoir changé son identité la première fois, qu’est Jean Valjean devient? ? Il devient un maire 15. Où est-ce que Jean Valjean habite avec Cosette (ou Cosette grandi) Au couvent des Bernadines LES PERSONNAGES QUI SUIS-JE? Identifiez les personnages suivants Jean Valjean - Javert - Cosette - Fantine - Fauchelevent - Monsieur Gillenormand - Monseigneur Myriel - Marius - Monsieur Thenardier - Madame Thenardier - 1. J’ai acheté l’âme de Jean Val jean et lui fais promettre de devenir un honnête homme. -
Les Miserables by Victor Hugo, Alain Boubil, Claude-Michel Schonberg
Young Critics Reviews Spring 2010-2011 Les Miserables By Victor Hugo, Alain Boubil, Claude-Michel Schonberg, Jean-Marc Natel and Herbert Kretzman At the Hippodrome Theatre through March 6 By Abby Salazar ANYTHING BUT MISERABLE How would you change your life if you were given the opportunity to start over? Would you take revenge on those who made your life miserable, or would you devote yourself to building a completely new character for yourself, forgetting everything about your past? Jean Valjean, prisoner 24601, asks himself these questions in the new stage musical at the Hippodrome Theatre based on Victor Hugo's novel, "Les Miserables." Set in France during the 1800s, it explores the world of second chances through the story of an ex-convict's new life as depicted through powerful sonic effects and exemplary visuals. “Starting over” is a familiar phrase. Many times we regret things we've done and wish we could start over, but how can we erase things that have already happened? How often do we actually start over? Valjean has made terrible mistakes, but when he is presented with the opportunity to start over, he acts decisively. He not only changes his appearance, name and location but also his values, morals and attitude. He keeps his past to himself and completely alters his outlook on life. The writers of the show emphasize his development by making connections to his past yet giving space for him to act differently according to his new persona. In the opening scene, a group of men are working hard on a slave ship. -
Any Youtube Links Or Sound Recordings Are for REFEERENCE
LES MISERABLE – Vocal Audition Selections. IMPORTANT!! Read THIS first: Any YouTube links or sound recordings are for REFEERENCE ONLY: They MAY NOT BE IN THE SAME KEY as the vocal selections!! Make sure you find a piano (or an app) and learn the selection in the key of the sheet music provided to you. The copy of the sheet music IS the audition version (AND WHAT THE ACCOMPIANIST WILL USE TO SUPPORT YOU IN YOUR AUDITION). It is your responsibility to practice the song in the key that it is written in the sheet music provided – which is not necessarily the YouTube video or sound recording! HOW TO CHOOSE A VOCAL SELECTION 1. If you REALLY want to be considered for a specific role then choose the selection for that role. 2. If you are open to any/multiple roles choose a selection that you connect with and fits your voice. 3. If you only want to be considered for a CHORUS role, choose the chorus selection. *YOU WILL BE CONSIDERED FOR ALL ROLES YOU INDICATE ON YOUR AUDITION SHEET. This is a good resource for Reference to the songs – NOTE – YOU STILL HAVE TO CHECK KEY https://stageagent.com/shows/musical/774/les-miserables/songs NOTE: AS OF NOW (11/28) THESE ARE MOST LIKELY THE SONG SELECTIONS SO YOU CAN START THINKING. I WILL POST THE ACTUAL SELECTIONS AS SOON AS THE MUSIC COMES IN! Jean Valjean: Song Selection PROBABLY “Bring Him Home” Jean Valjean is the hero of the show. It is his life journey that we follow. -
Seaholm High School Presents
Seaholm High School Presents *All understudies will perform in their role in at least 1 show! Cast List: CHARACTER NAME: STUDENT NAME: UNDERSTUDY Jean Val Jean David Royzenblatt Javert Bennett Pompi Fantine Rose Sher Aria Cullen Cosette Maggie Kalt Clara Quandt Eponine Sarah Showich Ashley Buechner Marius Max Hochkammer Enjolras Spencer Whittington Thenardier Tyler Nguyen Madame Thenardier Mallory McCann Lily May Bishop Myriel Sam Wasson Grantaire Mitch Mollison Bamatabois David Watkinson Gavroche Grace McGillivary Natalie Karamanian Young Cosette Savannah Weinrick Olivia Rouland Young Eponine Olivia Rouland Savannah Weinrick Combeferre Maya Dunn Feuilly Hannah Hockman Joly Max Singh Prouvaire Sathya Siddapureddy Courfeyrac Jonas Annear Lesgles Kendall Heldt *CHORUS WITH SPEAKING LINES OR SOLO AND CHORUS ARE LISTED ON THE NEXT PAGE. Chorus with Speaking Lines or Solo: Chorus: Convict #1, Sailor #1, Army Officer Alex Walters Lindsey Hochman Convict #2 Adrien Mourou Ava LePage Convict #3, Pimp Ethan Showich Kammy McPhaul Convict #4, Sailor #3 Julian Akkashian McKenna Cazal Convict #5, Sailor #2 Louise Ortega Maya Cosciuk Farmer Jack Williams Isabella Betanzos Labourer Jonathan Marx Maddie Zbanek Constable #1 Max Bergman Adrien Corrrales Constable #2, Prostitute #1 Elena Pfeiffer Brooke Fowler Foreman, Fauchelevant Diego Suazo Ava Marise Worker #1 Jordan Snyder Ava Sheldon Worker #2 Sydney Bishop Marky Jennings Woman Jacquelyn Zamora Tory Beckman Factory Girl #1 Shriya Nama Sophie Ruiz Factory Girl #2, Prostitute #3 McKenna Cazal Sam Clark Factory Girl #3 Haley Guerra Angelina Vitale Factory Girl #4 Lindsay Hockman Claire Schreibeis Factory Girl #5, Claquesous Natalie Lewand Lucas Stall Old Woman, Montparnasse Megan Herbst Fiona Moore Sick Prostitute Anneka Pitera Catie Voigt Prostitute #2 Davis Kurepa-Peers Hutton Pratt Bamatabois David Watkinson Natalie Bakken Onlooker #1 Sophia Elgie Anika Puttiah Onlooker #2 Jenna Burdick Robert Kershenbaum Onlooker #3 Josh Taylor Raquel Acho Onlooker #4 Dylan Fishman Babet Haley Ness Brujon Anna Sorrenti . -
The Political and Popular Reception of Victor Hugo’S Les Misérables in Civil War America
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 “Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America Emily S. Turner Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the French and Francophone Literature Commons, and the Literature in English, North America Commons Recommended Citation Turner, Emily S., "“Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/711 TRINITY COLLEGE Senior Thesis “Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America submitted by EMILY TURNER ‘18 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts 2018 Director: Christopher Hager Reader: Diana Paulin Reader: Dan Mrozowski Turner ii Table of Contents Acknowledgements…………………………………………………………………..…………iii Note About Translations……………………………………………………………………......iv Introduction……………………………………………………………………………………...v Chapter 1: “The Brutalities of Progress Are Called Revolutions”: Hugo’s Philosophy of Revolution……………………………………………………………………………….1 Chapter 2: “John Brown is Greater than Washington”: Hugo’s Philosophy and the American Political Divide……………………..……………………………………….………….32 Chapter 3: “Lee’s Miserables”: Critical Expectations and Popular Responses to Les Misérables ……………………………………………………………………………..59 Conclusion……………………………………………………………………………………...82 Bibliography………………………………………………………………………………...….91 Turner iii Acknowledgements There are many people who have made this thesis possible to whom I owe a word of thanks. Firstly, I would like to thank the Trinity College English Department, especially Professor Sarah Bilston for advising our thesis colloquium. -
TFM Cristina Abad Máster De Guión Diciembre 2012 Universidad De Sevilla
1 TRABAJO FIN DE MÁSTER Érase otra vez el cine. Adaptaciones/remakes de grandes novelas del XIX Cristina Abad Cadenas Máster Universitario en Guión, Narrativa y Creatividad Audiovisual Tutor: Profesor Antonio Checa Godoy Facultad de Comunicación. Universidad de Sevilla Diciembre de 2012 2 ÍNDICE Pgs. 0. Introducción 4 1. Objetivos e hipótesis 7 1.1. Objetivos 7 1.2. Hipótesis 8 2. Metodología 9 3. Análisis –desarrollo 11 3.1. Desde que el cine cuenta historias adapta novelas del siglo XIX 11 3.1.1. El origen del cine 11 3.1.2. Definición de adaptación. 13 3.2. El cine vuelve una y otra vez a contarnos las mismas historias 16 3.2.1.Origen y desarrollo del remake 16 3.2.2. Definición de remake 17 3.2.3. Breve historia de la investigación de un término no reciente 19 3.2.4. Categorías de los remakes 22 3.3. ¿Por qué se siguen readaptando las novelas del XIX ? 22 - Fuerza narrativa. 24 - Necesidad de historias 24 - Rentabilidad económica 25 - Capacidad para interpelarnos 25 - Posibilidad de actualización 26 - Interés de los cineastas 27 - Acceso al conocimiento histórico 28 - Prestigio artístico y cultural 28 - Labor divulgadora 28 3.4. Las novelas del XIX en el cine, ¿adaptaciones o remakes? En busca de una denominación adecuada 29 3.5. Las versiones de novelas del XIX, entre la fidelidad y la originalidad 32 3.5.1. Tipos de adaptaciones según fidelidad/creatividad 32 3 - Lenguajes diferentes 33 - La marca del autor 35 - Diferente contexto histórico cultural 36 3.5.2. ¿Cabe la subversión? 37 3.5.3. -
How Do You Solve a Problem Like Cosette? Femininity and the Changing Face of Victor Hugo’S Alouette
Stephens, B 2019 How Do You Solve a Problem Like Cosette? Femininity and the Changing Face of Victor Hugo’s Alouette. Modern Languages Open, 2019(1): 5 pp. 1–28. DOI: https://doi.org/10.3828/mlo.v0i0.253 ARTICLE How Do You Solve a Problem Like Cosette? Femininity and the Changing Face of Victor Hugo’s Alouette Bradley Stephens University of Bristol, GB [email protected] This article opens a new dialogue between French literature, gender studies, and adaptation studies by examining the conception and reception of the character of Cosette from Victor Hugo’s bestseller Les Misérables (1862). Adaptation studies has increasingly theorized the comparative rather than simply evaluative use of fidelity, in part encouraged by the ongoing push beyond the customary adaptive media of film. However, there has been little development of this methodology to ask how the relationship between literary works and their adaptations might help to nuance – if not revise – the masculinist notoriety of canonical male writers such as Hugo. Cosette provides an apt test case. She is the modern face of Les Misérables thanks to the hugely popular Boublil and Schönberg musical version (1985) and its trademark logo, which is based on Émile Bayard’s wistful 1879 illustration of her. Cosette’s poster-child status is deeply problematic but has never been explored. Her objectification as the ingenuous alouette (‘lark’) and her rags-to-riches tale tout a conservatism that is at once in line with Hugo’s patri- archal renown as a grand homme and yet at odds with Les Misérables’s reputation for progressive ideals.