The Writings in Prose and Verse of Rudyard Kipling
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Optimization-Based Approximate Dynamic Programming
OPTIMIZATION-BASED APPROXIMATE DYNAMIC PROGRAMMING A Dissertation Presented by MAREK PETRIK Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2010 Department of Computer Science c Copyright by Marek Petrik 2010 All Rights Reserved OPTIMIZATION-BASED APPROXIMATE DYNAMIC PROGRAMMING A Dissertation Presented by MAREK PETRIK Approved as to style and content by: Shlomo Zilberstein, Chair Andrew Barto, Member Sridhar Mahadevan, Member Ana Muriel, Member Ronald Parr, Member Andrew Barto, Department Chair Department of Computer Science To my parents Fedor and Mariana ACKNOWLEDGMENTS I want to thank the people who made my stay at UMass not only productive, but also very enjoyable. I am grateful to my advisor, Shlomo Zilberstein, for guiding and supporting me throughout the completion of this work. Shlomo's thoughtful advice and probing questions greatly influenced both my thinking and research. His advice was essential not only in forming and refining many of the ideas described in this work, but also in assuring that I become a productive member of the research community. I hope that, one day, I will be able to become an advisor who is just as helpful and dedicated as he is. The members of my dissertation committee were indispensable in forming and steering the topic of this dissertation. The class I took with Andrew Barto motivated me to probe the foundations of reinforcement learning, which became one of the foundations of this thesis. Sridhar Mahadevan's exciting work on representation discovery led me to deepen my un- derstanding and appreciate better approximate dynamic programming. -
Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
Characters Deer Raksha Seyva Dhani Other Wolves Bagheera Akela
Characters Deer Raksha Seyva Dhani Other Wolves Bagheera Akela Shere Khan Gray Mowgli Keva Fatin Baloo Monkey 1 Monkey 2 Monkey 3 Monkey 4 Kaa Asa Villager 1 Villager 2 Child 1 Child 2 Toomai Scene 1 (Stage is set with small pots of fake greenery. There are also two ‘rocks’ onstage; one being Council Rock, the other, Bagheera’s Perch. A DEER enters, gracefully. Music begins softly as the deer moves from plant to plant, dancing. The music changes ominously. Quickly, the WOLF PACK surrounds the DEER. The WOLVES circle in on the deer, blocking it from view. DEER exits by the time the pack opens up again. A rustling from the bushes. The pack turns as one.) RAKSHA. Who moves within our grounds who does not use the Stranger’s Hunting Call? BAGHEERA. (Entering SR, carrying a bundle) We be of one blood, ye and I. RAKSHA. Bagheera. BAGHEERA. I tell you now, return to your den. It is not safe out tonight. RAKSHA. What is it? BAGHEERA. Shere Khan is out hunting. RAKSHA. On our grounds? BAGHEERA. He will not obey the Law of the Jungle. He is lame and wishes for easier prey. SEYVA. Our buck will be no easier for a lame tiger to catch. BAGHEERA. It is not buck he hunts tonight ... but man. RAKSHA. Man? SEYVA. In the jungle? BAGHEERA. Travelers. And their kin (nodding toward the bundle.) SEYVA. Bagheera. BAGHEERA. (Looking only at RAKSHA) I ask only that you take the cub with you. Just until Shere Khan moves on. RAKSHA. And you believe he will be safe then? BAGHEERA. -
The Jungle Book: Mowgli and the Great Kaa
THE JUNGLE BOOK: MOWGLI AND THE GREAT KAA From the story “Kaa’s Hunting” by Rudyard Kipling Adapted by Kate Pogue © 1993 Kate Pogue ALL RIGHTS RESERVED Duplication Prohibited Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=1917 The Jungle Book: Mowgli and the Great Kaa - 2 - STORY OF THE PLAY The curtain rises on a jungle in India in the middle of the 19th century. A tribe of monkeys come chasing in with the boy Mowgli in their midst. They run in and out of the hut Mowgli has built. In the middle of their play, Kaa, the great python, comes through the jungle terrifying them and Baloo (a great bear) and Bagheera (a panther) who are Mowgli’s friends and protectors. The monkeys disperse and Baloo and Bagheera, finding Mowgli safe from Kaa, scold the boy for playing with the monkeys. They teach him how to make himself safe in the jungle while exacting a promise from him that he won’t go off with the monkeys again. They fall asleep. The monkeys, eager to get Mowgli to make them huts like his to keep them protected from the elements, wake him and drag him off with them through the jungle. Baloo and Bagheera go to the great Kaa to ask for help in rescuing Mowgli from the monkeys. As Kaa despises the monkeys for their dirty habits and also finds them delicious to eat he agrees to go with them. The monkeys have taken Mowgli to the Lost City. As he tries to teach them to make a hut Mowgli discovers how undisciplined, selfish and thoughtless the monkeys are and longs to be back with Bagheera and Baloo. -
A Phenomenological Case Study of College English Students
Old Dominion University ODU Digital Commons Teaching & Learning Theses & Dissertations Teaching & Learning Fall 2019 I Had to Do the Reading: A Phenomenological Case Study of College English Students Jennifer Eleanor Frank Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/teachinglearning_etds Part of the Curriculum and Instruction Commons, English Language and Literature Commons, and the Higher Education Commons Recommended Citation Frank, Jennifer E.. "I Had to Do the Reading: A Phenomenological Case Study of College English Students" (2019). Doctor of Philosophy (PhD), Dissertation, Teaching & Learning, Old Dominion University, DOI: 10.25777/6na1-8q73 https://digitalcommons.odu.edu/teachinglearning_etds/59 This Dissertation is brought to you for free and open access by the Teaching & Learning at ODU Digital Commons. It has been accepted for inclusion in Teaching & Learning Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. I HAD TO DO THE READING: A PHENOMENOLOGICAL CASE STUDY OF COLLEGE ENGLISH STUDENTS by Jennifer Eleanor Frank B.A. May 2005, George Mason University M.S.Ed. August 2012, Old Dominion University A Dissertation Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY EDUCATION OLD DOMINION UNIVERSITY November 2019 Approved by: Judith Dunkerly-Bean (Director) Helen Crompton (Member) Thomas W. Bean (Member) ABSTRACT Jennifer E. Frank Old Dominion University, 2019 Director: Dr. Judith Dunkerly-Bean The purposes of this qualitative phenomenological case study were to investigate multiple student experiences in a general elective introduction to literature course when music was added as an autonomously structured assignment. -
Jungle-Book-Playbill-Virtual.Pdf
Virginia’s Leading Family Theatre Company Hugh R. Copeland—Artistic Director PRODUCTION STAFF Director…………..……..….………..……………...………………… HUGH R. COPELAND Production Stage Manager……….……………………………….………….LAURA LAVAN Sponsored in part by Costume Designer……………………………………………….………...…..ANNE HILTON Costumers Volunteers……..….ROBIN POWELL, STACY CARTWRIGHT AND KATY DOTY, SEPHANIE TREVINO Set Crew…………………………….SCOTT CHASEY, BECKY CHASEY, ANDY THORNHILL KATY DOTY, DEANNA HAMMOND, JOHN LAPETINA, ALAN TAYLOR, JIMMY MCKENZIE AND KAYVON HOSSEINIPOOR Photographer………………………………………………………………….....JERRY DUCK Stage Managers………………………………… ANDY THORNHILL, STEPHANIE TREVINO Backstage Crew……….. SHANNON THORNHILL, LAURIE GLICK, MARIE VACCARELLA, KATY DOTY, ANGELA TAYLOR, THERESA BREMBY, JENNIFER WHITMORE, BETTINA SELBY, JESSICA MCKENZIE, MEGAN HOOSEINIPOOR Music and Lyrics by House Managers………………………………...THERESA HYLER, STACEY CARTWRIGHT Richard M. Sherman, Robert B. Sherman Ushers………………… ANGELA TAYLOR, SHAWTINA CROSS, MEGAN HOSSEINIPOOR THERESA BREMBY, KATY DOTY, DAWN KERMAN, VALERIE WANG, KELLY YOUNG And Terry Gilkyson JESSICA MCKENZIE Book adapted and Additional Lyrics by Marcy Heisler HURRAH STAFF Founder and Artistic Director……………………………………......HUGH. R. COPELAND Music Adapted and Arranged by Managing Director………………………………………....………..…….….KELSEY BACKE Bryan Louiselle Director of Education/ Box Office Manager…………………...…..……....LISA WALLACE Director of Development……………………………………………..…EILEEN CARPENTER Based on the Screenplay by Production Manager…………………………...………………………..…….LAURA -
Trailfinderwolf 01.Pdf
Cub Scout Booklet All rights reserved. No part of this publication may be translated or adapted into any language, or reproduced, stored or transmitted by any means whatsoever, including illustrations and cover designs, without the prior written authorisation of the Interamerican Scout Office, which represents the owners of the copyright. Reservation of rights applies equally to the national scout associations which are members of the World Organization of the Scout Movement. Copyright registration: 133.001 ISBN: 956-8057-12-9 This first edition of 3,000 copies was printed in June 2003. Interamerican Scout Office Av. Lyon 1085, 6650426, Providencia, Santiago, Chile tel. (56 2) 225 75 61 fax (56 2) 225 65 51 [email protected] www.scout.org/interamerica World Organization of the Scout Movement Cub Scout Booklet You are already at the Trail-Finder Wolf stage! Now you and you think can walk and a little before run faster and acting, too. more freely you must be asking a lot more about the things you don't know You will learn a lot of new things with us You are going to have some good times. We promise. 2 You are also able to help your smaller sisters and brothers in the Pack, who will be beginning to follow in your footsteps. This Booklet belongs to Address Telephone Pack Scout Group I joined the Pack on This Booklet is private property. Please do not read it without permission. Thank you! 3 the adventure of the cold lairs Near the hills of Seonnee, the home of Akela's Free People of the Wolves, were the Cold Lairs. -
Kipling and the Dialect of the Tribe
Dennis Duffy KIPLING AND THE DIALECT OF THE TRIBE No EXTE"SIVE STUDY of Kipling is necessary to the realization that much of Kipling's most characteristic work employs dialect in one form or anorher: the Learoyd, Ortheris, and Mulvaney stories, including such major pieces as "On Greenhaw Hill", "The C nurtincr of Dinah Shadd" (bmh in Life's Handi cap), and ''His Private H o nour·· (j-fany Inventions); Barrack-Room Ballads; "'M'A11drcw's H ymn'' (Tiu: Seve11 Seas), a work r~v ea ling so much of the author's poetic; "A Walking D elegate"' (The Day's Work)- for most readers too revealing a presentation of the auth or's soci:I! outlook-and ".007" (also in T l1e Da y')· }Vorl\) which, fo r all its c hildi shne~s , is as illuminating an example as any of the K ipling Gospel of Work. These are but a few of the obvious instances of the use of dialect. Most of t.hc cliaracrers in Kim. for example, fail to speak in Srand::ud English, and tn such Indian-narrated tales as ''Dray Wara Yow Dee (In Black md White) and "In the Pre<ence·' (A DIIJen·ity of Creatures), everyone speaks in an elab orate. stately manner supposed to approximate native speech in the raw. The "point", dubious as it is. of '·The Comprehension of Priv::tte Copper" (Traffics and Discoveries) 1 is that the _\nglo..South A£riCJnS, under Boer oppression following Lhe British r!efr-:11 :1 Majuha in l , 7 , have :1cquired the characteristics of a helot race (rhe term '·helot" being Lord Milner's propagandist inspiration in his dispatch of M:.ty 4, 1. -
Kipling, the Story-Writer
UNIVERSITY OF CALIFO! AT LOS ANGELES SEMICENTENNIAL PUBLICATIONS OF THE UNIVERSITY OF CALIFORNIA 1868-1918 42 1 6 KIPLING THE STORY-WRITER BY WALTER MORRIS HART UNIVERSITY OF CALIFORNIA PRESS BERKELEY 1918 28412 TO A. B. H. VA PREFACE In the course of an attempt to trace the history of the Short- Story in English it came to seem desirable, three or four years ago, to examine with some thoroughness, as the terminus ad quern, the work of Rudyard Kipling. The results of this study were rather fully set forth in the form of notes intended for class-room lectures. Revision and publication of these notes was advised by Professor Bliss Perry of Harvard College and by Professor Charles Mills Gayley of the University of Califor- nia. To these good friends of the writer this little book owes its being. Without their criticisms and suggestions, moreover, it would have been even less worthy than it is of the author with whom it is concerned. To him, to Mr. Kipling himself, thanks are due for gracious permission to take from his works the many illustrative passages with which these pages are adorned. CONTENTS PAGE Introduction 1 PART ONE: THE INDIAN PERIOD CHAPTER I Settings 5 CHAPTER II Characters and Psychology 12 CHAPTER III Plots and Their Significance 33 CHAPTER IV General Characteristics of the First Period Ill PART TWO: THE PERIOD OF TRANSITION CHAPTER V The Transitional Technique 131 PART THREE: THE ENGLISH PERIOD CHAPTER VI Settings 160 CHAPTER VII Characters and Psychology 170 CHAPTER VIII Plots and Their Significance 192 CHAPTER IX Conclusion 2 1 7 KIPLING THE STORY WRITER 53-2./. -
Home and Who: a Rhetorical Analysis of Rudyard Kipling's "Tiger! Tiger!' and "Letting in the Jungle"
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2003 Home and who: A rhetorical analysis of Rudyard Kipling's "Tiger! tiger!' and "Letting in the jungle" Steven Clark Estus Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Estus, Steven Clark, "Home and who: A rhetorical analysis of Rudyard Kipling's "Tiger! tiger!' and "Letting in the jungle"" (2003). Theses Digitization Project. 2343. https://scholarworks.lib.csusb.edu/etd-project/2343 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. HOME AND WHO: A RHETORICAL ANALYSIS OF RUDYARD KIPLING'S "TIGER! TIGER!" AND "LETTING IN THE JUNGLE" A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Steven Clark Estus June 2003 HOME AND WHO: A RHETORICAL ANALYSIS OF RUDYARD KIPLING'S "TIGER! TIGER!" AND "LETTING IN THE JUNGLE" A Thesis Presented to the Faculty of California State University, San Bernardino by Steven Clark Estus June 2003 Approved by: Mat, Bruce/G.o ldenl, Chair, English Date Holly Hdnry Maureen Newlin ABSTRACT It has often been expressed that British writer Rudyard Kipling was a pitiless, xenophobic imperialist, the nineteenth century's chief apologist for imperialism. In the flesh, guilty: at one time or another, he was all of these things. -
Rikki-Tikki-Tavi by Rudyard Kipling 1893
Name: Class: Rikki-Tikki-Tavi By Rudyard Kipling 1893 Rudyard Kipling (1865-1936) was an English journalist, short-story writer, poet, and novelist. Kipling’s most popular work is his collection of short stories titled The Jungle Book. “Rikki-Tikki-Tavi” is a short story from The Jungle Book about the adventures of a young mongoose. As you read, take notes on how the characters react to danger during the story. At the hole where he went in Red-Eye called to Wrinkle-Skin. Hear what little Red-Eye saith:1 “Nag, come up and dance with death!” Eye to eye and head to head, (Keep the measure, Nag.) This shall end when one is dead; (At thy pleasure, Nag.) Turn for turn and twist for twist — (Run and hide thee, Nag.) Hah! The hooded Death has missed! (Woe2 betide3 thee, Nag!) [1] This is the story of the great war that Rikki-tikki- tavi fought single-handed, through the bath- rooms of the big bungalow in Segowlee "Yellow Mongoose" by Colin Frankland is licensed under CC BY-NC 4 cantonment. Darzee, the tailor-bird, helped him, 2.0. and Chuchundra, the musk-rat, who never comes out into the middle of the floor, but always creeps round by the wall, gave him advice; but Rikki-tikki did the real fighting. He was a mongoose, rather like a little cat in his fur and his tail, but quite like a weasel in his head and his habits. His eyes and the end of his restless nose were pink; he could scratch himself anywhere he pleased, with any leg, front or back, that he chose to use; he could fluff up his tail till it looked like a bottle-brush, and his war-cry, as he scuttled through the long grass, was: “Rikk-tikk-tikki-tikki-tchk!” One day, a high summer flood washed him out of the burrow where he lived with his father and mother, and carried him, kicking and clucking, down a roadside ditch.