CHAPTER I INTRODUCTION A. Background of the Study Everyone
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Ride-Buyers: Joe and Mark
Ride-Buyers: Joe and Mark This is a long story about two of racing’s filthy rich ride-buyers, Joe Boyer (1890-1924) and Mark Thatcher, but it begins with Boyer’s distant relative William Burroughs, the beat generation’s favorite author, who wrote bandit books like “Junky” and “Naked Lunch,” and spent his life roaming the freak earth from Algiers to Mexico City to New Orleans hanging with three of other great beatniks Dean Moriarty, Sal Paradise, and Carlo Marx (all pseudonyms). Purposely spaced out in his various personas as dope fiend, petty criminal, sexual athlete, and firearms fanatic, Burroughs once played a game of “William Tell” with his wife and, while trying to shoot an apple off her head, missed and blew her brains out. Burroughs’ grandfather was the inventor of the world’s favorite multiplication appliance, the Burroughs Adding Machine, and Joe Boyer’s father was the company’s very own Chief Executive Officer. Yet when William Burroughs died in the late 1990s it was a cultural event in print and on TV; and the last time Joe Boyer, missing since 1924, was ever accorded a tribute was back in 1985, when the Indy 500’s Old Timers club posthumously inducted him into its Hall of Fame. Too bad that the counterculture drug addict and the Brickyard’s richest ride-buyer never hooked up - they’d have made quite a twining. Until the stock market tanked in 1929, the Roaring Twenties was the ultimate decade for enjoying private wealth and privilege, and Joe Boyer benefitted from wealth and privilege alike - A blue-blood of Detroit’s high-society who belonged to every snob country club that upper crust Michigan boasted of, Boyer, upon deciding he had to become a race driver in the Indy 500 as quickly as possible, wasted no time on formalities. -
June 17 – Jan 18 How to Book the Plays
June 17 – Jan 18 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 Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm Saint George and Network Pinocchio for the following week’s performances. the Dragon 4 Nov – 24 Mar 1 Dec – 7 Apr Day Tickets 4 Oct – 2 Dec £18 / £15 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. Access symbols used in this brochure CAP Captioned AD Audio-Described TT Touch Tour Relaxed Performance Beginning Follies Jane Eyre 5 Oct – 14 Nov 22 Aug – 3 Jan 26 Sep – 21 Oct TRAVELEX £15 TICKETS The National Theatre Partner for Innovation Partner for Learning Sponsored by in partnership with Partner for Connectivity Outdoor Media Partner Official Airline Official Hotel Partner Oslo Common The Majority 5 – 23 Sep 30 May – 5 Aug 11 – 28 Aug Workshops Partner The National Theatre’s Supporter for new writing Pouring Partner International Hotel Partner Image Partner for Lighting and Energy Sponsor of NT Live in the UK TBC Angels in America Mosquitoes Amadeus Playing until 19 Aug 18 July – 28 Sep Playing from 11 Jan 2 3 OCTOBER Wed 4 7.30 Thu 5 7.30 Fri 6 7.30 A folk tale for an Sat 7 7.30 Saint George and Mon 9 7.30 uneasy nation. -
When Prince Albert Hired a Private Spy to Clean up Monaco's Reputation As a Haven for Organised Criminals, He Didn't Expect
SPIES, LIES AND VIDEOTAPE When Prince Albert hired a private spy to clean up Monaco’s reputation as a haven for organised criminals, he didn’t expect the former FBI agent, Robert Eringer, would end up suing him. Now the Prince is claiming head-of-state immunity and the spy wants to sue the Principality instead. Mark Hollingsworth investigates the investigator 12 ES MAGAZINE standard.co.uk/lifestyle Clockwise from above: Prince Rainier and Princess Grace with their children Albert and Caroline in 1959; the Principality of Monaco on the Côte d’Azur; Robert Eringer; Prince Albert in 2009 hen Prince Albert became ruler of Russian arms dealers and money launderers Monaco in 2005, he declared that the who were Monaco residents. But he was also Riviera micro-state would no longer be the Prince’s uno cial spymaster – probing a ‘sunny place for shady people’, as the Principality’s ministers, assessing the described by the novelist and Côte d’Azur threat of embarrassing secrets of his client’s resident Somerset Maugham. ‘I will fi ght personal life being exposed and liaising with with all my strength for Monaco to be beyond the security services of other small states reproach so that it will never again be described including Luxembourg, Malta, Andorra and by the equation: Monaco equals money Liechtenstein to share information about laundering,’ he said in his accession speech. organised crime. In April 2003, he arranged So, late last year, he didn’t enjoy the pros- for the Prince to meet FBI director Robert pect of being dragged through a California Mueller in Washington DC, and Porter Goss, court accused by Robert Eringer, then CIA director, in 2004 for brief- the man he had employed to Sipping Martini ings on counter-terrorism, fi nance spy on Monaco’s residents, and cocktails, and organised crime. -
The Crown Would Not Stand Between Me and Frontline Service
CREATED BY Peter Morgan EPISODE 4.04 “Favourites” While Margaret Thatcher struggles with the disappearance of her favorite child, Elizabeth reexamines her relationships with her four children. WRITTEN BY: Peter Morgan DIRECTED BY: Paul Whittington ORIGINAL BROADCAST: November 15, 2020 NOTE: This is a transcription of the spoken dialogue and audio, with time-code reference, provided without cost by 8FLiX.com for your entertainment, convenience, and study. This version may not be exactly as written in the original script; however, the intellectual property is still reserved by the original source and may be subject to copyright. EPISODE CAST Olivia Colman ... Queen Elizabeth II Tobias Menzies ... Prince Philip, Duke of Edinburgh Helena Bonham Carter ... Princess Margaret Gillian Anderson ... Margaret Thatcher Josh O'Connor ... Prince Charles Emma Corrin ... Princess Diana Marion Bailey ... Queen Elizabeth the Queen Mother Erin Doherty ... Princess Anne Stephen Boxer ... Denis Thatcher Angus Imrie ... Prince Edward Tom Byrne ... Prince Andrew Freddie Fox ... Mark Thatcher Rebecca Humphries ... Carol Thatcher Sam Phillips ... Equerry Charles Edwards ... Martin Charteris P a g e | 1 1 00:00:06,080 --> 00:00:10,400 -[engine revving] -[announcer speaking French] 2 00:00:15,080 --> 00:00:16,320 [crowd cheering] 3 00:00:16,400 --> 00:00:18,400 [announcer continues in French] 4 00:00:23,000 --> 00:00:23,880 And then up to… 5 00:00:26,440 --> 00:00:28,440 [man counting down in French] 6 00:00:30,880 --> 00:00:32,040 [tires screech] 7 00:00:32,120 --> 00:00:34,120 [announcer speaking French] 8 00:00:37,720 --> 00:00:38,600 Ready? 9 00:00:40,280 --> 00:00:41,160 Ready. -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
Dialogue Mats (Educating Twenty First Century Women 2014)
WWW. WWW. EDUCATING TWENTY FIRST CENTURY WOMEN: PASSION, POSSIBILITIES AND POWER CONFERENCE WWW. Dr Who DIALOGUE MAT 1: PASSION AND POSSIBILITIES 3 In groups, critically consider the questions – write your group responses on the dialogue mat. V What is beauty? 1 a) Where do we get our images of beauty? Hb) Are the images we see stereotypes or are they fair representations of all women? c) Susie Orbach wrote a book in 1978 called Fat is a Feminist Issue, and argued that “the beauty and variety of the female form are judged unacceptable, and instead slimness is promoted for profit and control”. What do you think she meant by this and why do you think the issue still exists for women today? Shakespeare wrote 788 male characters and 141 female characters. Discuss the “Shakespeare’s account of the conspiracy to 2 representation of women in theatre in light of this fact and the following five quotes, assassinate a dictator and the messy mistakes which are taken from reviews of Phyillida Lloyd’s all-female production of Julius Caesar in the power vacuum left behind is an at the Donmar Warehouse. aggressively men-only affair. That’s why the play is such a calculatedly provocative choice Since 1989 (that’s around 300 monthly issues), only nine black women have been featured a) Why do you think Phyllida Lloyd chose to stage an all-female production of this play? Do you think for the all-female cast in Phyllida Lloyd’s 4 on the cover of US Vogue. there should be more productions like this? O intense and bracing revival.” a) Why do you think there -
Going Universal
Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized Public Disclosure Authorized GOING UNIVERSAL GOING UNIVERSAL How 24 Developing Countries Are Implementing Universal Health Coverage Reforms from the Bottom Up Daniel Cotlear, Somil Nagpal, Owen Smith, Ajay Tandon, and Rafael Cortez © 2015 International Bank for Reconstruction and Development / The World Bank 1818 H Street NW, Washington, DC 20433 Telephone: 202-473-1000; Internet: www.worldbank.org Some rights reserved 1 2 3 4 18 17 16 15 This work is a product of the staff of The World Bank with external contributions. The findings, interpretations, and conclusions expressed in this work do not necessarily reflect the views of The World Bank, its Board of Executive Direc- tors, or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgment on the part of The World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Nothing herein shall constitute or be considered to be a limitation upon or waiver of the privileges and immunities of The World Bank, all of which are specifically reserved. Rights and Permissions This work is available under the Creative Commons Attribution 3.0 IGO license (CC BY 3.0 IGO) http://creativecom- mons.org/licenses/by/3.0/igo. Under the Creative Commons Attribution license, you are free to copy, distribute, transmit, and adapt this work, including for commercial purposes, under the following conditions: Attribution—Please cite the work as follows: Cotlear, Daniel, Somil Nagpal, Owen Smith, Ajay Tandon, and Rafael Cortez. -
Thatcher's Son Facing RICO Suit in Texas
Click here for Full Issue of EIR Volume 21, Number 41, October 14, 1994 Thatcher's son facing RICO suit in Texas by Mark Burdman Britain's former Prime Minister Margaret Thatcher, ever ea ger to be the center of attention, was anticipating arriving in Dallas, Texas the first week of October, to speak before fawning U.S. admirers on "the merits of free trade." As the London Sunday Times commented on Oct. 2, she was being billed in Dallas as a "living legend." But little did Baroness Thatcher realize, when she accepted the speaking engage ment, that a storm of controversy would be erupting in Britain about the Texas activities of her son Mark and of her own pet Thatcher Foundation. On Oct. 2, two of Britain's leading Sunday weeklies, the Observer and Sunday Times, ran front-page articles, reveal ing that son Mark was about to be hit with a $3 million RICO (Racketeering Influenced and Corrupt Organizations) suit, Margaret Thatcher's son is in trouble in Texas, just as George Bush's son is, and it looks as though the timing of these scandals is for illicit activities concerning the Texas-based aircraft fuels by no means a coincidence. firm Ameristar. "Mark Thatcher Faces $3 Million Lawsuit in Texas," was the Observer's headline. It noted that "the U.S. branch of the Thatcher Foundation shared the same corporate the Middle East and the Persian Gulf, via their connections to address as Ameristar." the powerful Texas-based Enron Corp. Hitting at the Thatcher clan in Texas, is hitting at one of Besides this, Bush's son Geoq�e W. -
The Royal Opera House Announces Full Details of the 2021/22 Season
Tuesday 1 June 2021 The Royal Opera House announces full details of the 2021/22 Season • 11 new productions, including 5 world premieres, and 20 revivals. • An exciting roster of UK and international talent with many debuts The Royal Opera House today confirms details for its 2021/22 Season, the first full Season since 2019. Opening on Monday 13 September, the Season includes five world premieres from The Royal Ballet and The Royal Opera, classic revivals and an exciting roster of international and UK talent performing across the two stages of the Royal Opera House. In its 90th anniversary year, The Royal Ballet presents a Season that respects the past and heralds the future. Three world premieres, including Wayne McGregor’s The Dante Project, Christopher Wheeldon’s Like Water for Chocolate and a new work by American choreographer Kyle Abraham, are performed alongside much-loved 19th-century classics and heritage ballets by Frederick Ashton and Kenneth MacMillan. The Linbury Theatre hosts a raft of partnerships and co-productions including with Ballet Black, Alessandra Ferri, Yorke Dance Project and a world premiere from Company Wayne McGregor. Creative opportunities for emerging talent will also feature with Draft Works and the Next Generation Festival. The Season culminates in July 2022 with The Royal Ballet 1 making a welcome return to international touring with a three-week tour of Japan where the Company will perform Kenneth MacMillan’s Manon and Peter Wright’s Giselle. The Royal Opera Season will open with a new production of Verdi’s Rigoletto, directed by Oliver Mears – his first production since becoming The Royal Opera’s Director of Opera in 2017. -
Utopias and Dystopias All Sessio
CES Virtual 27th International Conference of Europeanists Europe’s Past, Present, and Future: Utopias and Dystopias All sessions are listed in Eastern Daylight Time (EDT). June 2, 2021 1 Pre-Conference Side Events MONDAY, JUNE 14 Networking with Breakout Sessions (private event for fellows) 6/14/2021 10:00 AM to 11:30 AM EDT Mandatory for all dissertation completion and pre-dissertation fellows Through the Science Lens: New Approaches in the Humanities 6/14/2021 1:00 PM to 2:30 PM Mandatory for all dissertation completion and pre-dissertation fellows Moderator: Nicole Shea, CES/Columbia University Speakers: Dominic Boyer - Rice University Arden Hegele - Columbia University Jennifer Edmond - Trinity College Territorial Politics and Federalism Research Network Business Meeting 6/14/2021 1:00 PM to 2:30 PM Business Meeting Chair: Willem Maas - York University TUESDAY, JUNE 15 Mellon-CES Keynote Discussion: Crises of Democracy 6/15/2021 10:00 AM to 11:30 PM Keynote Sponsored by The Andrew W. Mellon Foundation Mandatory for all dissertation completion and pre-dissertation fellows Chair: Nicole Shea – Director, Council for European Studies Speakers: Eileen Gillooly - Executive Director, Heyman Center for the Humanities, Columbia University Jane Ohlmeyer - Professor of History at Trinity College and Chair of the Irish Research Council 2 European Integration and Political Economy Research Network Speed Mentoring Event 6/15/2021 10:30 AM to 2:30 PM Networking Event Chair: Dermot Hodson - Birkbeck, University of London Knowledge Production and -
Shakespeare and Mamma Mia
Multicultural Shakespeare: Translation, Appropriation and Performance; vol. 20 (35), 2019 http://dx.doi.org/10.18778/2083-8530.20.11 ∗ Jana B. Wild On a Romantic Island: Shakespeare and Mamma mia Abstract: The paper concerns the blockbuster musical film Mamma mia, loosely using some of Shakespearean patterns, topoi and plots. Set on a small Greek island, idylic and exotic, the film offers a contemporary romantic story with new/reversed roles in terms of gender, parenthood, sexuality, marriage and age, pointing to a different cultural paradigm. While the Shakespearean level is recast, remixed and probably less visible, the priority is given to the utopia of the 1970s and to the question of its outcome and transformation. Keywords: Mamma mia, musical, popular culture, Shakespeare, The Tempest. This paper concerns the blockbuster musical film Mamma mia (2008) which loosely uses some of Shakespearean patterns, topoi and plots. Set on a small Greek island, idyllic and exotic, the film offers a contemporary romantic story with reversed or reconsidered roles in terms of gender, parenthood, sexuality, marriage and age, pointing to a different cultural paradigm. The musical romantic comedy film Mamma mia is based on the stage musical (1999) with songs of the 1970s popular music group ABBA: The young Sophie, living with her single mother on a Greek island, is about to get married. She wishes her father would give her away though she never knew who it was. In her mother’s diary she had found out that there were three men in question. Despite that she never saw them for they all live far away; she invites all three of them to her wedding without telling her mother Donna. -
Downloaddoc.Asp?Id=4275 , 09.01.2009
DIPLOMARBEIT Titel der Diplomarbeit „Eine Frau an der Spitze“ Eine historische Diskuranalyse der Darstellung Margaret Thatchers in den britischen Printmedien von 1975 bis 1990. Verfasserin Claudia Dollnig angestrebter akademischer Grad Magistra der Philosophie (Mag. a Phil) Wien, Juli 2009 Studienkennzahl lt. Studienblatt: A 301 295 Studienrichtung lt. Studienblatt: Publizistik und Kommunikationswissenschaft Betreuerin / Betreuer: Dr. Rainer Gries Eidesstattliche Erklärung: „Ich erkläre hiermit an Eides Statt, dass ich die vorliegende Arbeit selbständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht.“ Wien, am 12.07.2009 Claudia Dollnig Danksagung Eine Diplomarbeit ist eine Diplomarbeit, ist eine Diplomarbeit, und doch kann sie einen manchmal bis an den Rande des Wahnsinns treiben. Sie entsteht nie im Alleingang, sondern immer mit Hilfe anderer Menschen. Für die Hilfestellung bei der Entstehung und Fertigstellung dieses wissenschaftlichen Gesellinnenstückes möchte ich mich bei folgenden Menschen bedanken: Prof. Reiner Gries, der über die nationalen Grenzen hinaus die Betreuung meiner Diplomarbeit übernommen und mich über die Jahre mit Rat und Tat unterstützt hat. Für den Support bei den Recherchen möchte ich mich bei den MitarbeiterInnen der Sydney Jones Library in Liverpool, John Walker vom UK-Press Online Archive und Mag. Florian Singer bedanken. Des Weiteren gilt mein Dank auch Mag. Walter Moriel, der mir an einem Scheideweg die Augen für das Wesentliche geöffnet hat. Für die zahlreichen wegweisenden Tipps und Hinweise möchte ich mich besonders bei DSA. Michael Dollnig, Mag.