The Crucible STUDY GUIDE RESPONSE SHEET
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Masterarbeit / Master's Thesis
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master’s Thesis “Paranoia in Tony Kushner’s Angels in America and Arthur Miller’s The Crucible” verfasst von / submitted by Dott. Marta Palandri angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien 2018 / Vienna 2018 Studienkennzahl lt. Studienblatt / A 066 844 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Anglophone Literatures and Cultures degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra GANSER Table of Contents Introduction 3 Methodology 5 The Plays: Angels in America and The Crucible 6 Arthur Miller’s The Crucible in Context 6 Tony Kushner’s Angels in America in Context 9 Theory 11 New Historicism 11 The Fear of the Other 12 Binary Oppositions 13 Analysis and Theory Application 14 How Does Paranoia Affect Culture? 14 Paranoia and Identity 14 Paranoia and Fear 15 Paranoia in Postwar America 16 Mass Hysteria, Witch Hunts, and Scapegoating in The Crucible 18 A Dual Historical Context 18 Scapegoating 25 Monsters 30 The Role of Guilt 32 The Myth of Witchcraft 34 Conclusion 35 Psychosis, Symbolism, and Apocalypse in Angels in America 36 Historical Context through the Eyes of the Other 36 The Approach of the Millennium 37 Apocalyptic Narratives 41 Binary Oppositions 42 Symbolism and Apocalyptic Visions 44 Psychosis 46 Apocalyptic Otherness 47 Change and Stasis -
From Tongue to Text: the Transmission of the Salem Witchcraft Examination Records
KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. From Tongue to Text: The Transmission of the Salem Witchcraft Examination Records by Peter Grund 2007 This is the author’s accepted manuscript, post peer-review. The original published version can be found at the link below. Grund, Peter. 2007. “From Tongue to Text: The Transmission of the Salem Witchcraft Examination Records.” American Speech 82(2): 119–150. Published version: http://dx.doi.org/10.1215/00031283-2007-005 Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml This work has been made available by the University of Kansas Libraries’ Office of Scholarly Communication and Copyright. Peter Grund. 2007. “From Tongue to Text: The Transmission of the Salem Witchcraft Examination Records.” American Speech 82(2): 119–150. (the accepted manuscript version, post-peer review) From Tongue to Text: The Transmission of the Salem Witchcraft Examination Records1 Peter Grund, Uppsala University Introduction In the absence of audio recordings, scholars interested in studying the characteristics of spoken language in the early Modern period are forced to rely on written speech-related sources.2 These sources include, among others, drama and fiction dialogue, trial proceedings, and witness depositions. However, at the same time, it has been shown that, although purporting to represent spoken conversation, these texts probably reflect actual spoken language only partially and to different degrees (for the evaluation of the degree of “spokenness” of these text categories, see Culpeper and Kytö 2000; see also Kryk-Kastovsky 2000; Moore 2002). Drama and fiction dialogue, for example, represents constructed speech produced by an author who may have been more or less successful in mimicking contemporaneous spoken conversation. -
The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
[email protected] 2
FOR IMMEDIATE RELEASE Press Contact: Betsy Aldredge Media Relations Specialist 914-251-6959 [email protected] PURCHASE OPERA AND ALBANY RECORDS RELEASE “THE CRUCIBLE” THE FIRST RECORDING IN MORE THAN 50 YEARS OF THIS WORK Based on Arthur Miller’s Play with Music by Robert Ward Purchase, NY, January 13, 2017: Purchase Opera and Albany Records have partnered to release the first new recording in more than fifty years oF The Crucible, an opera by composer Robert Ward and librettist Bernard Stambler based on Arthur Miller’s play about the Salem witch trials. Originally commissioned by the New York City Opera, The Crucible premiered on October 26, 1961, just eight years after Miller’s play was first perFormed. The opera won a Pulitzer Prize among other accolades. The last recording oF the opera, also released by Albany Records, was From the early 1960s, and Featured the original New York City Opera cast, minus bass-baritone Norman Treigle. The production, directed by Jacque Trussel, was presented in March 2016 at Purchase College’s PerForming Arts Center and was later recorded in the Conservatory oF Music’s Recital Hall. This new recording of The Crucible (TROY 1656/57) features students and alumni oF the Conservatory of Music’s Department oF Opera PerFormance and Vocal Studies—a highly selective program that has won 13 top awards From the National Opera Association For its acclaimed productions, including one For this production. The recording also features Purchase Symphony Orchestra, conducted by Hugh Murphy. Maestro Murphy is a recent recipient oF the American Prize Competition’s Ernst Bacon Memorial Award for the Performance of American Music for his conducting of The Crucible. -
Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M. -
Spectral Evidence’ in Longfellow, Miller and Trump
Clemson University TigerPrints All Theses Theses May 2021 Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump Paul Hyde Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Hyde, Paul, "Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump" (2021). All Theses. 3560. https://tigerprints.clemson.edu/all_theses/3560 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. WEAPONIZING FAITH: “SPECTRAL EVIDENCE” IN LONGFELLOW, MILLER AND TRUMP A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Paul Hyde May 2021 Accepted by: Dr. Michael LeMahieu, Committee Chair Dr. Cameron Bushnell Dr. Jonathan Beecher Field ABSTRACT This thesis explores a particular type of irrational pattern-seeking — specifically, “spectral evidence” — in Henry Wadsworth Longfellow’s Giles Corey of the Salem Farms (1872) and Arthur Miller’s The Crucible (1953). It concludes with observations of this concept’s continued and concerning presence by other names in Trump-era politics. The two works by Longfellow and Miller make a natural pairing because both are plays inspired by the Salem witchcraft trials (1692-93), a notorious historical miscarriage of justice. Robert Warshow calls the Salem witchcraft trials, aside from slavery, “the most disconcerting single episode in our history: the occurrence of the unthinkable on American soil, and in what our schools have rather successfully taught us to think of as the very ‘cradle of Americanism” (211). -
Salem Witch Trials Describe Darkest Era in American History
Salem Witch Trials describe darkest era in American history Vida Bikales & The Barn Players By Bob Evans Arthur Miller’s tragic, gloomy, Gothic-inspired tale of witchcraft, lechery, murder, and blind religious justice–with a huge dose of ignorance– spelled the darkest days of American history when New England towns succumbed to a frenzied idea that witches walked among them, thereby creating public executions of persons accused of contracting with the devil. The most famous American trials befell the town of Salem, Massachusetts, immortalized in Miller’s “The Crucible,” now playing at The Barn Playhouse in Mission, Kansas. Troubling, dark and dismal from the opening scenes, “The Crucible” only spirals deeper and darker with each scene as the story of adolescent girls pretend to summon evil spirits, dance naked, and drink chicken blood to cast spells on innocent townsfolk, causing the hangings of 19 “guilty” witches in their small town. Only decades after Miller’s work played world stages did the State of Massachusetts amend their judgments and pardon those accused and murdered as witches. Vida Bikales & The Barn Players “The Crucible” at The Barn carves the story into the hearts of the audience so thoroughly and completely. Do not expect levity in this show because there is none. Miller researched the actual Salem court records and used much of the testimony verbatim in crafting his play. Even with the focus on one particular family, the devastation created continues to create shivers when viewed. Luckily, Salem preserved their historic blunder and some cells that held the accused remain intact. Some chains remain attached to walls, and “The Crucible” and other such plays continue there for tourists who visit America’s most horrid injustices. -
Empowering Popularity: the Fuel Behind a Witch-Hunt
EMPOWERING POPULARITY: THE FUEL BEHIND A WITCH-HUNT ________________________________ A Thesis Presented to The Honors Tutorial College Ohio University ________________________________ In Partial Fulfillment Of the Requirements for Graduation From the Honors Tutorial College With the degree of Bachelor of Arts in History ________________________________ Written by Grace Konyar April 2017 Table of Contents List of Figures ……………………………………………………………………….2 Introduction………………………………………………………………………….3 Chapter One………………………………………………………………………..10 Who Lives, Who Dies, Who Tells Your Story: The Development of Witchcraft as a Gendered Crime Chapter Two………………………………………………………………………………...31 The World Turned Upside Down: The Fragility of the Suffolk and Essex Witch-Hunts Chapter Three ……………………………………………………………………………...52 That Would Be Enough: The Tipping Point of Spectral Evidence Chapter Four………………………………………………………………………74 Satisfied: The Balance of Ethics and Fame Conclusion………………………………………………………………………………….93 Bibliography………………………………………………………………………………..97 1 List of Figures Image 1: Frontispiece, Matthew Hopkins, The Discovery of Witches, London, 1647…...........................................................................................................................40 Image 2: Indictment document 614 of the Essex Summer Sessions for Maria Sterling. Courtesy of The National Archives- Kew, ASSI 35/86/1/72. Photograph by the author………………………………………………………………………………....41 Image 3: Frontispiece, A True Relation of the Araignment of eighteen Witches, London, 1945……………………………………...……….…………………………48 -
Cotton Mathers's Wonders of the Invisible World: an Authoritative Edition
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 1-12-2005 Cotton Mathers's Wonders of the Invisible World: An Authoritative Edition Paul Melvin Wise Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Wise, Paul Melvin, "Cotton Mathers's Wonders of the Invisible World: An Authoritative Edition." Dissertation, Georgia State University, 2005. https://scholarworks.gsu.edu/english_diss/5 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. COTTON MATHER’S WONDERS OF THE INVISIBLE WORLD: AN AUTHORITATIVE EDITION by PAUL M. WISE Under the direction of Reiner Smolinski ABSTRACT In Wonders of the Invisible World, Cotton Mather applies both his views on witchcraft and his millennial calculations to events at Salem in 1692. Although this infamous treatise served as the official chronicle and apologia of the 1692 witch trials, and excerpts from Wonders of the Invisible World are widely anthologized, no annotated critical edition of the entire work has appeared since the nineteenth century. This present edition seeks to remedy this lacuna in modern scholarship, presenting Mather’s seventeenth-century text next to an integrated theory of the natural causes of the Salem witch panic. The likely causes of Salem’s bewitchment, viewed alongside Mather’s implausible explanations, expose his disingenuousness in writing about Salem. Chapter one of my introduction posits the probability that a group of conspirators, led by the Rev. -
Roles Available for 2021 Opera Nuova Productions
ROLES AVAILABLE FOR 2021 OPERA NUOVA PRODUCTIONS: Of course, things may shift as the audition season approaches, but this is currently what is uncast or only single cast in our productions. Each role will be double-cast. DIDO AND AENEAS & AENEAS AND DIDO Dido (Purcell) o Soprano/Mezzo Soprano o Queen of Carthridge Aeneas (Purcell & Rolfe) o Tenor o Trojan Prince Sorceress o Counter Tenor/Mezzo Soprano Witch #1, Spirit, Mercury o Soprano Witch #2, Second Woman, Goat o Soprano/Mezzo Soprano Tenor Ensemble Baritone Ensemble THE CRUCIBLE Thomas Putnam o Baritone o Married to Ann Putnam. A greedy landowner in Salem. He systematically accuses his neighbors of witchcraft so that he might purchase their lands after they’re gone. Francis Nurse o Bass o Farmer and landowner in Salem. He is a respected member of the community often called upon to settle disagreements between individuals. Giles Corey o Tenor o Married to Martha Corey. Innocent, elderly citizen accused of witchcraft after he attempts to defend his wife, Martha, and expose scheming John Putnam. Elizabeth Proctor o Mezzo Soprano o John Proctor’s wife. Elizabeth fired Abigail when she discovered that her husband was having an affair with Abigail. Elizabeth is supremely virtuous, but often cold. Rebecca Nurse o Mezzo Soprano/Contralto o Charitable Salem resident whom Ann Putnam accuses of witchcraft. Betty Parris o Mezzo Soprano o Daughter of Rev. Parris. At the beginning of the opera, she lies in a stupor supposedly caused by witchcraft. Susanna Walcott o Soprano o Friend to Abigail. She also takes part in the trials by falsely accusing others of witchcraft. -
The Salem Witch Trials from a Legal Perspective: the Importance of Spectral Evidence Reconsidered
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1984 The Salem Witch Trials from a Legal Perspective: The Importance of Spectral Evidence Reconsidered Susan Kay Ocksreider College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Law Commons, and the United States History Commons Recommended Citation Ocksreider, Susan Kay, "The Salem Witch Trials from a Legal Perspective: The Importance of Spectral Evidence Reconsidered" (1984). Dissertations, Theses, and Masters Projects. Paper 1539625278. https://dx.doi.org/doi:10.21220/s2-7p31-h828 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE SALEM WITCH TRIALS FROM A LEGAL PERSPECTIVE; THE IMPORTANCE OF SPECTRAL EVIDENCE RECONSIDERED A Thesis Presented to The Faculty of the Department of History The College of Williams and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Susan K. Ocksreider 1984 ProQuest Number: 10626505 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10626505 Published by ProQuest LLC (2017). -
A Graduate Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1967 A Graduate Recital Report Jean Madsen Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Education Commons Recommended Citation Madsen, Jean, "A Graduate Recital Report" (1967). All Graduate Plan B and other Reports. 584. https://digitalcommons.usu.edu/gradreports/584 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. ACKNOWLEDGMENTS Sincere appreciation is acknowledged to the members of my committee for their assistance in preparation of my Master's work; to the chairman, Dr. Max Dalby, for his guidance in the program; t o Dr . William Ramsey and Professor Merle Puffer for their patience in the training and preparation of the recital; to Dr. John Carlisle, De an of Education, for his unde rstanding and advice; and to Dr. Alma Dittmer for his special help . To my accompanist, Naone Godfrey, I would like to express my since re thanks for the hours of rehearsal time she has given both to me and to the choir. To the Box Elder Four Stake Choir for the many hours and dedicated service they have given for the love of good music and respect for the director, my gratitude is extended . Jean Madsen TABLE OF CONTENTS PREPARATION OF INDIVIDUAL RECI~L CHOIR PREPARATION PROGRAM 4 PROGRAM ANALYSIS 5 Solo Selections ~ 5 German Lieder 8 French Selections 12 English Group 15 .!:!!, Traviata 17 Choir Selections 20 The Creation 20 Requiem 23 Madrigals 24 "The White Swan" 26 Folk Music 28 The Messiah 32 CONCWSION 36 LITERATURE CITED 37 PREPARATION OF INDIVIDUAL RECITAL In preparing for the recital many challenges were presented .