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WDSG Keeping in Touch Newsletter, Issue 9
WDSG Keeping in Touch Issue 9 Welcome to our 9th Keeping in Touch Newsletter. It’s been good to hear that you are seeing a bit more of family and friends and we are hoping to see you all at Pabulum as soon as it is safe. To that end you will have received a survey for all members, friends and volunteers and we really want to hear your thoughts on returning to some sort of Pabulum café so we can make judgements on how and when to open. If you have any problems in opening the document or completing and returning electronically, please just let us know. You are also able to post the completed survey to: Fairland Church Centre, Fairland Green, Wymondham, Norfolk, NR18 0AW With the BBC stopping free licences for the over 75s from August 1st it is worth knowing that you can still get one if you are on pension credits - the link below will enable you to find out if you are entitled to pension credit if you are not already getting it - apparently over 1million pensioners fail to claim https://www.gov.uk/pension-credit-calculator If you are not on online but would like any information referred to in this newsletter please make contact with us. Also don’t forget, if you need any help or would like to talk please don’t hesitate to make contact Email Sarah or Deborah on [email protected] Sarah’s mobile number is 07391 659057. Deborah’s mobile number is 07586 312809. We are also open to anyone living in or near Wymondham who has been recently affected by dementia and would like to make contact, we can offer friendship and understanding. -
Fawlty Towers - Episode Guide
Performances October 6, 7, 8, 13, 14, 15 Three episodes of the classic TV series are brought to life on stage. Written by John Cleese & Connie Booth. Music by Dennis Wilson By Special Arrangement With Samuel French and Origin Theatrical Auditions Saturday June 18, Sunday June 19 Thurgoona Community Centre 10 Kosciuszko Road, Thurgoona NSW 2640 Director: Alex 0410 933 582 FAWLTY TOWERS - EPISODE GUIDE ACT ONE – THE GERMANS Sybil is in hospital for her ingrowing toenail. “Perhaps they'll have it mounted for me,” mutters Basil as he tries to cope during her absence. The fire-drill ends in chaos with Basil knocked out by the moose’s head in the lobby. The deranged host then encounters the Germans and tells them the “truth” about their Fatherland… ACT TWO – COMMUNICATION PROBLEMS It’s not a wise man who entrusts his furtive winnings on the horses to an absent-minded geriatric Major, but Basil was never known for that quality. Parting with those ill-gotten gains was Basil’s first mistake; his second was to tangle with the intermittently deaf Mrs Richards. ACT THREE – WALDORF SALAD Mine host's penny-pinching catches up with him as an American guest demands the quality of service not normally associated with the “Torquay Riviera”, as Basil calls his neck of the woods. A Waldorf Salad is not part of Fawlty Towers' standard culinary repertoire, nor is a Screwdriver to be found on the hotel's drinks list… FAWLTY TOWERS – THE REGULARS BASIL FAWLTY (John Cleese) The hotel manager from hell, Basil seems convinced that Fawlty Towers would be a top-rate establishment, if only he didn't have to bother with the guests. -
A Study on Fawlty Towers and National Identity
Representing and Constructing Englishness — A Study on Fawlty Towers and National Identity University of Tampere School of Modern Languages and Translation Studies English Philology Pro Gradu Thesis March 2005 Katariina Niiranen 1 Table of Contents 1. Checking in at Fawlty Towers................................................................................. 2 1.1. Fawlty Towers as a Situation Comedy........................................................... 6 1.2. “Ah, more strikes...” — The Historical and Social Context ..................... 11 2. Theoretical background......................................................................................... 15 2.1. Imagining the Community — Ideas of a Nation and National Identity .. 17 2.2. Formation of Englishness............................................................................. 27 2.3. Popular Culture, Comedy and Humour..................................................... 31 3. What Are You Laughing At? Methods of Comedy............................................... 39 3.1. Farce, Incongruity and Dramatic Irony at Work...................................... 39 3.2. Playing with Language — Verbal Comedy ................................................ 47 4. Representing the Nation Through the Family...................................................... 52 4.1. The Major — “Drunken old sod” ............................................................... 53 4.2. Sybil and Polly — the Strong Caretakers................................................... 56 4.3. Manuel — Cheap -
Sarjassa Pitkän Jussin Majatalo
26 sLÄHIKUVA s1/2016 2AMI-ËHKË &- Rami Mähkä +ULTTUURIHISTORIA 4URUNYLIOPISTO BASIL FAWLTY JA "ESITHATCHERILAISUUS" SARJASSA PITKÄN JUSSIN MAJATALO Klassikkoaseman saavutanut tilannekomedia Pitkän Jussin majatalo raken- tuu pitkälti töykeän ja katastrofaltiin hotellinjohtajahahmo Basil Fawltyn toilauksille. Mielipiteiltään konservatiivinen ja patriootinen Fawlty on sarjan naurun ensisijainen kohde. Sellaisena hän artikuloi käsityksiä Britannian yh- teiskunnallisesta tilanteesta 1970-luvun jälkipuoliskolla. Sarjan avainteemojen kontekstualisointi – sarjan komediallisuus huomioon otaen – autaa ymmärtä- mään yhteiskunnallista ja kultuurista kehitystä, jonka seurauksena Margaret Thatcher nousi Britannian pääministeriksi vuonna 1979. Artikkelini tarkastelee Pitkän Jussin majataloa (Fawlty Towers, BBC, 1975, 1979) tilannekomediana, jonka keskipisteenä on hotellinomistaja ja -johtaja Basil Fawltyn (John Cleese) keskiluokkainen, konservatiivinen hahmo. Sarjan muut keskushahmot ovat Sybil Fawlty (Prunella Scales), Polly (Connie Booth) ja Ma- nuel (Andrew Sachs). Sybil on Basilin vaimo, joka on miestään sosiaalisempi ja avomielisempi. Hän myös osallistuu hotellin pyörittämiseen ollen siinä itse asiassa miestään pätevämpi. Sisäkkö Polly taas on taideopiskelija, joka toimii järjen äänenä ja Basilin virheiden paikkaajana. Neljäs keskushenkilö Manuel on huonosti englantia taitava ja asioita hahmottava espanjalaistarjoilija (ks. myös Wilmut 1980, 243–247). Jo tässä vaiheessa on syytä painottaa, että sitcomin hahmot tai niiden yhdistelmä perustuvat komediallisille -
5. Fawlty Towers
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis Strategies for translating British humour in sitcoms using "Fawlty Towers" as an example verfasst von / submitted by Owen Davies angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien / Vienna, 2017 Studienkennzahl lt. Studienblatt / A 060 331 360 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Übersetzen Deutsch Russisch degree programme as it appears on the student record sheet: Contents 1. Introduction ........................................................................................................................ 5 2. Theoretical basis of translation studies ............................................................................... 7 2.1. Skopos theory .............................................................................................................. 7 2.1.1. Skopos .................................................................................................................. 8 2.1.2. Equivalence and adequacy ................................................................................... 9 2.1.3. Coherence .......................................................................................................... 10 2.1.4. Intertextual coherence (fidelity) ......................................................................... 11 2.1.5. Offer of information .......................................................................................... -
“Little Englander” – Fawlty Towers a Textual Analysis of Nationalistic Ideology
Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 1, No 2 (2007) ARTICLE “Little Englander” – Fawlty Towers A Textual Analysis of Nationalistic Ideology MATTHEW BARTLEY, University of Sunderland ABSTRACT It is often agreed upon that television texts have provided an image of ‘Britishness’ that constructs an image of the nation state. This in turn leads to the representation of community in British sitcoms where one example is Fawlty Towers. Here we have a small community as a mini-construction of Britain complete with its ‘strengths’ and ‘traditions’. This paper then, will elaborate through the analysis of narrative developments, thematic concerns and visual and linguistic analysis of the characters, just how Fawlty Towers showed this notion put into practice. Considering what is considered the essence of ‘Britain’ in a textual example of a sitcom, it investigates how this ideological notion is applied within the textual narrative. This includes which characters are deemed worthy of inclusion in this mini-Britain, and which are not, and which ideological beliefs inform the notion of ‘Britishness’. KEYWORDS Textual analysis, thematic, narrative, visuals. Research has shown that when studying communities, one aspect that is of paramount importance to their formation is that of difference, or rather the acceptance of difference (Bauman, 2004; Lacey, 1998; Pickering, 2001; Tueth, 2000; and Tyler, 2005). Historically, communities have been formed around workplaces, uniting its denizens under a common banner despite the fact that their chosen occupation may be the only thing that the communal inhabitants share with each other. Difference is not anathema to the conception and construction of a community as long as the difference is integrated into the structure of the community. -
The Evolution, Political Prospects, and Foreign Policy of Germany's Green
THE NEW GEOPOLITICS OCTOBER 2020 EUROPE GERMANY’S NEW CENTRISTS? The evolution, political prospects, and foreign policy of Germany’s Green Party AMANDA SLOAT BROOKINGS – ROBERT BOSCH FOUNDATION TRANSATLANTIC INITIATIVE GERMANY’S NEW CENTRISTS? The evolution, political prospects, and foreign policy of Germany’s Green Party AMANDA SLOAT EXECUTIVE SUMMARY Countries across the trans-Atlantic alliance are suffering from deep polarization, shifting political landscapes, and doubts about the liberal order. American retrenchment, China’s growing influence, the climate crisis, rising economic inequality, and the coronavirus pandemic are fueling the angst. In response, a new generation of moderate politicians has emerged with a different style of politics that includes hopeful, unifying messaging. Germany’s Green Party, a strong contender to serve in the country’s next government, is part of this trend. Until the coronavirus outbreak, there was a developing narrative in German politics. The long-serving governing coalition — between Chancellor Angela Merkel’s Christian Democratic Union (CDU) and the Social Democratic Party (SPD) — was fading in dynamism. The traditional left/right political divide, embodied in these traditional parties, was being challenged by a liberal/illiberal rift. On one side was the Alternative for Germany (AfD), a far-right populist party that surged in the polls during the 2015 migration crisis. On the other side, the Green Party had evolved from its radical origins in the 1980s to become an appealing moderate force with increasing electoral success. Clear-eyed about the social transformations underway, the Greens have countered the fearmongering of the far right, seized ground from the center left with progressive policies, and developed a constructive approach that emphasizes coalition building and positive rhetoric. -
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British Journal for Military History Volume 7, Issue 1, March 2021 Repetition versus Revision: Narratives in the BBC’s Great War Centenary Helena Power ISSN: 2057-0422 Date of Publication: 19 March 2021 Citation: Helena Power, ‘Repetition versus Revision: Narratives in the BBC’s Great War Centenary’, British Journal for Military History, 7.1 (2021), pp. 135-152. www.bjmh.org.uk This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License. The BJMH is produced with the support of NARRATIVES IN THE BBC’S GREAT WAR CENTENARY Repetition versus Revision: Narratives in the BBC’s Great War Centenary Helena Power* Independent Scholar Email: [email protected] Abstract The BBC’s1 plans for the First World War Centenary were of significant magnitude. Through 2,500 hours of programming, it sought to broaden knowledge of the conflict across its various media. Yet this objective was occasionally diminished by the resounding presence of popularised tropes about the war. With consideration of two key anniversaries and flagship programmes, this article reflects upon the balance between familiar ideas and new developments, the disconnect between television programming and developing historiography and the use of modern techniques in conveying a new narrative. Introduction ‘History repeats itself’ is a commonly expressed idiom. Less publicly considered is the extent to which we repeat history, and the impact this repetition has on our understanding of history itself. Public understanding and representation of history - more succinctly interpreted as a ‘cultural memory’ of the past — has received increased academic attention in recent decades. For the Great War, cultural memory has been expressed through various means, including remembrance rituals, memorials, and television programmes. -
Fawlty Towers Audition Pack
by John Cleese and Connie Booth • Five performances from 23-26 September 2015 at the Bridewell Theatre, Blackfriars • Auditions will be held Wednesday 17 June, 1 Churchill Place • Rehearsals every Tuesday and Thursday 6.30-8.30pm, 1 Churchill Place PRODUCTION This production will be comprised of three episodes from scripts of the original TV series; The Hotel Inspectors, The Germans and Communication Problems. We will be casting 19 actors made up of: Seven regular roles which occur in each episode, 3 male, 4 female Twelve actors (6 female, 6 male) who can play various different larger and smaller speaking roles in each episode AUDITIONS Auditions will be held on Wednesday 17 June at Barclays HQ, 1 Churchill Place, Canary Wharf, E14 and will be open to all paying members of the society. As a steer on what the casting committee will be looking for, character will be key. If you've never seen Fawlty Towers, feel free to view the episodes on Netflix, YouTube, etc to get an idea. If you have time, please read the script pieces before the audition to give yourself more of a chance than if you simply read the lines straight off the page. While the director will want to give you freedom to bring your own character to the roles, success in casting will be based on how you portray it. Not so worried about you learning the audition lines, though that can help you express yourself more easily. REHEARSALS and SHOW WEEK Rehearsals commence Tuesday 23rd June and will run each Tuesday and Thursday 6.30-8.30pm at Barclays HQ, 1 Churchill Place, Canary Wharf. -
Fawlty Towers Waldorf Salad with Basil the Rat
Cayman Drama Society [J'l£1l'Ai1X FAWLTY TOWERS WALDORF SALAD WITH BASIL THE RAT at The Prospect Playhouse, Red Bay PERFORMANCES April 30 (Gala!), May 1, 2, 3, & 4 May 7, 8, 9, 10, & 11 1997 ~:··FE(·:: . G~~:tke~:tonth Lllnck.speci~I~'1 "" .. ';,;;~;";,~~ibp;.:~flJa4,:~od~ ~:Buff~~':$7~,50 ':, ., flil~i1~iif~~~r';~!;~:Sria~~r~~~!(;t,'"' ::/';:';:::;~;:::'r'(Conch:~~ew:'Cracked: Conch.:FrittersS,slad: Ba~) ,',', :TH:vR;;:Cajp~:,N~ght N~"OrJ.eaJl;s(yie<::~':"", ",' .$1~~~' :' ::",.:':<,;::(Jambaiftt'illacltenPri'ln~.Rib,:cbi];,FisbtSatadY';::,:: ,' :FRl;;"':lJobs~er;DirinerFor.J'wo'Any Style' :":, ,:$42.95: ,• •,SAT~;::.,'" Seaf6od,biavlo'(Lob~tet, Fuh,Sh~p~Sq~id):' " $13.95': " :., ':SUN~"",' Triple Shrimp 'Cmn 00: for; two' ', .. :, '$29~9S ...... (: . .:., :: .:.: :.'.: :... :: :.~.:.~. ., ..... -:.:.-: ::·::,;::::},~"::::;::';: •.• ':,:·Yeg~:&i,a~:pasta'S6.00,L",.:,~"."rr,:~~,:$9~2:~i'»blner:;;,:::',::./::'::":,r: .:':.::,:'". ,.:::,,:'~'::'~~~:,~~"~;:~'i~6:~itY',~iJh:pr()~i~::i\i'~;;4'p,erions:"::.,,, , '.', .:', ~~~t~:fn;i~MeetfngROOIII'AY'lliJabie, ,,: ,', ::;"Re:serVa:fion andtakeou. orders 947l..S217/ Message from the Chairman/Director Dear Theatre Patrons, All good things must come co an end and by rhe rremendous success ofall the Fawley Towers episodes we have staged (eleven co dare) you have rhoughr them good. In fact last years "Fawley Towers" broke all records for the Society in atren dances - we even rumed people away on our normal 'quid night THURSDAY! I muse say rhar I never expecred rhem ro be sc popular nor did I rhink that I would be adapting and staging all rwelve ofrhe TV scripts. It was a good friend of mine and the CDS, Ketti Kennedy (now Mrs Kerri Hulit), who in 1990 was laughing in my earshot whilsr reading a book.