WINDOWS by John Galsworthy
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Study of John Galsworthy's Justice As a Realistic Exposure of the English
==================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 19:5 May 2019 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ==================================================================== Study of John Galsworthy’s Justice as a Realistic Exposure of the English Society Kailas Vijayrao Karnewar, M.A., NET College Road, Snehnagar, Vasmath Dist.- Hingoli. Pin- 431512 [email protected] ================================================================== Abstract John Galsworthy was an English playwright of 20th century. Alike G. B. Shaw he used drama as a vehicle for assigning communal criticism in each of his plays, he uncovered some social illness or other. John Galsworthy’s conception of drama is grounded on realism and general sense of morals. He supposed that drama is a noteworthy art form and capable of inspiring the attention and conveying consciousness of honorable ideologies in human life. Being a law graduate he was conscious of the severe restriction of a legalistic approach to men and matters. Galsworthy also becomes victim of rigid law and rigid society, since he was not married to his lover, Ada. In Justice he exposes all evil of the society like rigid divorce law, rigidity of society, solitary confinement and injustice done to prisoner. Galsworthy presented it by using naturalistic technique. Therefore, basic aim of this paper is to study the ills of English society which caused the demise of the main character Falder. Keywords: John Galsworthy, Justice, Realistic, English society, naturalistic technique, rigid law Introduction John Galsworthy is the best eminent problem writer and novelist in the 20th century. Like Bernard Shaw and his forerunner Ibsen, Galsworthy also presented some boiling problems or other in all his plays. -
Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership -
Trail of the White Worm Free Ebook
FREETRAIL OF THE WHITE WORM EBOOK Alan Barnes,Tom Baker,Louise Jameson,Geoffrey Beevers | none | 31 May 2012 | Big Finish Productions Ltd | 9781844356164 | English | Maidenhead, United Kingdom ‘Trail of the White Worm’/’The Oseidon Adventure’ (Audio) The Doctor and Leela land on a muddy day in England and immediately step into the slimy mucus trail of a large worm. Moments later, it becomes clear that the creature is fleeing, as hunters with dogs and guns are following. Trail of the White Worm is the beginning of what, in loose ways, is a four part series finale for the first series of Fourth Doctor Adventures (FDA’s). I say loosely, most of this episode does continue into the next story, The Oseidon Adventure, the characters, the enemies and some of the story, however, the ‘White Worm’ aspect is very conclusively wrapped up. The titular trail of a white worm is discovered by the Doctor and Leela within the opening seconds of the story, and things take a variety of twists and turns from there. The writing is clever enough that I thought it was going to follow a couple different genre tropes before it finally zeroed in on the real target. Doctor Who: Trail of the White Worm The titular trail of a white worm is discovered by the Doctor and Leela within the opening seconds of the story, and things take a variety of twists and turns from there. The writing is clever enough that I thought it was going to follow a couple different genre tropes before it finally zeroed in on the real target. -
Notions of the Gothic in the Films of Alfred Hitchcock. CLARK, Dawn Karen
Notions of the Gothic in the films of Alfred Hitchcock. CLARK, Dawn Karen. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19471/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version CLARK, Dawn Karen. (2004). Notions of the Gothic in the films of Alfred Hitchcock. Masters, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE ProQuest Number: 10694352 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 complete 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 10694352 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Notions of the Gothic in the Films of Alfred Hitchcock Dawn Karen Clark A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of Philosophy July 2004 Abstract The films of Alfred Hitchcock were made within the confines of the commercial film industries in Britain and the USA and related to popular cultural traditions such as the thriller and the spy story. -
George Eliot on Stage and Screen
George Eliot on Stage and Screen MARGARET HARRIS* Certain Victorian novelists have a significant 'afterlife' in stage and screen adaptations of their work: the Brontes in numerous film versions of Charlotte's Jane Eyre and of Emily's Wuthering Heights, Dickens in Lionel Bart's musical Oliver!, or the Royal Shakespeare Company's Nicholas Nickleby-and so on.l Let me give a more detailed example. My interest in adaptations of Victorian novels dates from seeing Roman Polanski's film Tess of 1979. I learned in the course of work for a piece on this adaptation of Thomas Hardy's novel Tess of the D'Urbervilles of 1891 that there had been a number of stage adaptations, including one by Hardy himself which had a successful professional production in London in 1925, as well as amateur 'out of town' productions. In Hardy's lifetime (he died in 1928), there was an opera, produced at Covent Garden in 1909; and two film versions, in 1913 and 1924; together with others since.2 Here is an index to or benchmark of the variety and frequency of adaptations of another Victorian novelist than George Eliot. It is striking that George Eliot hardly has an 'afterlife' in such mediations. The question, 'why is this so?', is perplexing to say the least, and one for which I have no satisfactory answer. The classic problem for film adaptations of novels is how to deal with narrative standpoint, focalisation, and authorial commentary, and a reflex answer might hypothesise that George Eliot's narrators pose too great a challenge. -
Elliot Levey
Elliot Levey Agents Ruth Young Associate Agent Phoebe Trousdell [email protected] +44 (0)20 3214 0800 Assistant Lauren Morgan [email protected] +44 (0)20 3214 0800 Assistant Alex Campbell [email protected] +44 (0)20 3214 0800 Roles Film Production Character Director Company MURDER ON THE Rabbi Kenneth Branagh Twentieth Century Fox ORIENT EXPRESS DENIAL Roger Levey Mick Jackson Krasnoff / Foster Entertainment FALLEN Dr. Watkins Scott Hicks Lotus Entertainment/ Mayhem Pictures THE MASTER OF YORK Menachem Kieron Quirke Eagle Lion Monster Films FLORENCE FOSTER Edgar Booth Stephen Frears Florence Film Ltd JENKINS Cunningham Jr United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company THE LADY IN THE VAN Director Nicholas Hytner Van Production Ltd. SPOOKS Philip Emmerson Bharat Nalluri Shine Pictures & Kudos PHILOMENA Alex Stephen Frears Lost Child Limited THE WALL Stephen Cam Christiansen National film Board of Canada THE QUEEN Stephen Frears Granada FILTH AND WISDOM Madonna HSI London SONG OF SONGS Isaac Josh Appignanesi AN HOUR IN PARADISE Benjamin Jan Schutte BOOK OF JOHN Nathanael Philip Saville DOMINOES Ben Mirko Seculic JUDAS AND JESUS Eliakim Charles Carner Paramount QUEUES AND PEE Ben Despina Catselli Pinhead Films JASON AND THE Canthus Nick Willing Hallmark ARGONAUTS JESUS Tax Collector Roger Young Andromeda Prods DENIAL Roger Levey Denial LTD Television Production Character Director Company -
Number 42 Michaelmas 2018
Number 42 Michaelmas 2018 Number 42 Michaelmas Term 2018 Published by the OXFORD DOCTOR WHO SOCIETY [email protected] Contents 4 The Time of Doctor Puppet: interview with Alisa Stern J A 9 At Last, the Universe is Calling G H 11 “I Can Hear the Sound of Empires Toppling’ : Deafness and Doctor Who S S 14 Summer of ‘65 A K 17 The Barbara Wright Stuff S I 19 Tonight, I should liveblog… G H 22 Love Letters to Doctor Who: the 2018 Target novelizations R C 27 Top or Flop? Kill the Moon J A, W S S S 32 Haiku for Kill the Moon W S 33 Limerick for Kill the Moon J A 34 Utopia 2018 reports J A 40 Past and present mixed up: The Time Warrior M K 46 Doctors Assemble: Marvel Comics and Doctor Who J A 50 The Fan Show: Peter Capaldi at LFCC 2018 I B 51 Empty Pockets, Empty Shelves M K 52 Blind drunk at Sainsbury’s: Big Finish’s Exile J A 54 Fiction: A Stone’s Throw, Part Four J S 60 This Mid Curiosity: Time And Relative Dimensions In Shitposting W S Front cover illustration by Matthew Kilburn, based on a shot from The Ghost Monument, with a background from Following Me Home by Chris Chabot, https://flic.kr/p/i6NnZr, (CC BY-NC 2.0) Edited by James Ashworth and Matthew Kilburn Editorial address [email protected] Thanks to Alisa Stern and Sophie Iles This issue was largely typeset in Minion Pro and Myriad Pro by Adobe; members of the Alegreya family, designed by Juan Pablo del Peral; members of the Saira family by Omnibus Type; with Arial Rounded MT Bold, Baskerville, Bauhaus 93, and Gotham Narrow Black. -
Simply-Hitchcock-1587911892. Print
Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind. -
Irma Inniss Producer
Irma Inniss Producer Irma is currently producing the third season of THE BAY for Tall Story Pictures and ITV. Prior to that she was Development Producer on a freelance basis at Ged Doherty and Colin Firth's company Raindog Films. Irma is a highly experienced Actor, Dramaturg, Script Executive and Producer who was recently script exec'ing series three of Kudos' TIN STAR. Prior to this she spent two years as Producer on BBC continuing drama series HOLBY CITY, having script edited HOLBY CITY and EASTENDERS. Irma has produced over 30 hours of television, including the critically –acclaimed “Man Down” a HOLBY CITY episode which highlighted the plight of a much-loved, regular character, in denial about his chronic depression and in crisis. She was a dramaturg on INSIDE OUT a play, by Tanika Gupta, produced by Clean Break and for LISTEN TO YOUR PARENTS by Benjamin Zephaniah, originally commissioned and transmitted on Radio 4. The play was reworked for a touring theatre production, before running at The Lyric, Hammersmith. As an actor, Irma has worked extensively, in theatre, television, radio and film; most often in new plays including WELCOME TO THEBES, written by Moira Buffini and directed by Richard Eyre, at the Olivier, for the National Theatre; DAUGHTERS at the Royal Court Theatre, directed by Ramin Gray; award-winning APACHE TEARS for Clean Break Theatre Company, at the Battersea Arts Centre and the THE WIDE SARGASSO SEA, adapted by Rukhsana Ahmad, for Radio 4. Television and film includes SILENT WITNESS, DESMOND’S, CORONATION STREET and the multi award-winning short film, PERFECT IMAGE?. -
Jago & Litefoot
ISSUE #28 may 2011 FREE! NOT FOR RESaLE NOW 24 PaGES! Jago & Litefoot MATTHEW SWEET and JOHN DORNEY on writing for the third series ALSO Sarah Sutton Andrew Cartmel Tom Allen Back in the The Lost Stories Companion to TARDIS interview continues the First Doctor PLUS! Geoffrey Beevers' Drama Showcase editorial Busy days! Nick is currently swept off his feet this mini-series and it’s a bold, exciting new directing (with help from Ken Bentley) and starring direction for the Sixth Doctor – who is now in series two of Sherlock Holmes, so I’ve paired with somebody who will bring out new stepped in to do a bit of editorial. It’s 6.30am, I’m aspects of his personality. tapping away between my cup of tea and toast Those stories are being recorded in June with marmite, and about to head over to the Moat (either side of Big Finish Day), and while for the final day of Holmes, and then we’ll be we’re having fun in the studio the Big Finish prepping for a load of other things... Sale will be well underway. A bit of a change So what can I reveal? Well, the Sixth Doctor to proceedings this year – the month-long is going to get a new companion in 2012. sale goes ahead as normal, but we also And, for those lucky people attending Big have Big Finish Week which comprises five Finish Day on June 11, there’ll be a chance days of brilliant bargains. From Monday 6 to meet and chat to the actor who plays June to Friday 10 June you’ll get the chance this character, who’ll be there with Colin to buy bargain priced CDs every day. -
Doctor Who 1 Doctor Who
Doctor Who 1 Doctor Who This article is about the television series. For other uses, see Doctor Who (disambiguation). Doctor Who Genre Science fiction drama Created by • Sydney Newman • C. E. Webber • Donald Wilson Written by Various Directed by Various Starring Various Doctors (as of 2014, Peter Capaldi) Various companions (as of 2014, Jenna Coleman) Theme music composer • Ron Grainer • Delia Derbyshire Opening theme Doctor Who theme music Composer(s) Various composers (as of 2005, Murray Gold) Country of origin United Kingdom No. of seasons 26 (1963–89) plus one TV film (1996) No. of series 7 (2005–present) No. of episodes 800 (97 missing) (List of episodes) Production Executive producer(s) Various (as of 2014, Steven Moffat and Brian Minchin) Camera setup Single/multiple-camera hybrid Running time Regular episodes: • 25 minutes (1963–84, 1986–89) • 45 minutes (1985, 2005–present) Specials: Various: 50–75 minutes Broadcast Original channel BBC One (1963–1989, 1996, 2005–present) BBC One HD (2010–present) BBC HD (2007–10) Picture format • 405-line Black-and-white (1963–67) • 625-line Black-and-white (1968–69) • 625-line PAL (1970–89) • 525-line NTSC (1996) • 576i 16:9 DTV (2005–08) • 1080i HDTV (2009–present) Doctor Who 2 Audio format Monaural (1963–87) Stereo (1988–89; 1996; 2005–08) 5.1 Surround Sound (2009–present) Original run Classic series: 23 November 1963 – 6 December 1989 Television film: 12 May 1996 Revived series: 26 March 2005 – present Chronology Related shows • K-9 and Company (1981) • Torchwood (2006–11) • The Sarah Jane Adventures (2007–11) • K-9 (2009–10) • Doctor Who Confidential (2005–11) • Totally Doctor Who (2006–07) External links [1] Doctor Who at the BBC Doctor Who is a British science-fiction television programme produced by the BBC. -
Geoffrey Beevers Is the Master*
ISSUE 40 • JUNE 2012 NOT FOR RESALE FREE! GEOFFREY BEEVERS IS THE MASTER* PLUS! MARK STRICKSON & SARAH SUTTON Nyssa and Turlough Interviewed! I KNOW THAT VOICE... Famous names in Big Finish! *AND YOU WILL OBEY HIM! SNEAK PREVIEWS EDITORIAL AND WHISPERS e love stories. You’ll be hearing those words from us a lot more over the coming months. We’re only saying it because it’s the truth. And in THE FOURTH DOCTOR ADVENTURES a way, you’ve been hearing it from us since we started all this, right SERIES 3 W back in 1998, with Bernice Summerfield! Every now and then, I think it’s a good idea to stop and consider why we do 2014 might seem what we do; especially when, as has happened recently, we’ve been getting such a long way away, a pounding by a vociferous minority in online forums. As you may know, there but it’ll be here have been some teething problems with the changeover to our new website. before you know There was a problem with the data from the old site, relating to the downloads it – and so we’re in customers’ accounts. It seems that the information was not complete and had already in the some anomalous links in it, which meant that some downloads didn’t appear and studio recording others were allocated incorrectly. Yes, we accidentally gave a lot of stuff away! And, the third series of in these cash-strapped times, that was particularly painful for us. Thanks to all of Fourth Doctor Adventures, once again you who contacted us to say you wouldn’t take advantage of these – shall we say featuring the Doctor and Leela.