Sense and Sensibility
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Smash Hits Volume 34
\ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5. -
Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen)
Not Said But Shown 432 17. Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen) ----- Marianne Dashwood at seventeen believes in “wholeheartedness.” One should cultivate right feelings as far as one possibly can, and express them frankly and to the full; and all with whom one can relate properly must do the same. One’s feelings should be intense, and the expression of them should be enthusiastic and eloquent. Towards those whose feelings are right, but who cannot achieve this freedom of expression, one must be charitable; but one should avoid all whose thought and behavior is governed by convention. Following convention corrupts one’s “sensibility,” so that one can no longer tell what the truth of natural feeling is. Thus, when Edward Ferrars and Marianne’s sister Elinor become mutually attached, Marianne approves of Edward — and she certainly agrees with her mother, who says, “I have never yet known what it was to separate esteem and love” (SS, I, iii, 16). But she cannot imagine how Elinor can be in love with Edward, because he lacks true “sensibility.” “Edward is very amiable, and I love him tenderly. But . his figure is not striking . His eyes want all that spirit, that fire, which at once announce virtue and intelligence . he has no real taste . I could not be happy with a man whose taste did not in every point coincide with my own . how spiritless, how tame was Edward’s manner in reading to us last night! . it would have broke my heart had I loved him, to hear him read with so little sensibility” (17-8). -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Sense and Sensibility Study Guide Is Aimed at Students of A’ Level Film and Communication and English
TEACHERS’ NOTES The Sense and Sensibility study guide is aimed at students of A’ Level Film and Communication and English. It may also be suitable for some students of GCSE Media Studies and English. SYNOPSIS When Henry Dashwood dies unexpectedly, his estate must pass by law to his son from his first marriage, John and wife Fanny. But these circumstances leave Mr. Dashwood’s current wife and daughters Elinor, Marianne and Margaret, without a home and barely enough money to live on. ©Film Education 1 As Elinor and Marianne struggle to find romantic fulfilment in a society obsessed with financial and social status, they must learn to mix sense with sensibility in their dealings with both money and men. Based on Jane Austen’s first novel, Sense and Sensibility marks the first big-screen adaptation of this classic romantic comedy. Directed by Ang Lee. Certificate: U. Running rime: 135 mins. INTRODUCTION “Jane Austen? Aren’t her novels just old-fashioned romantic stories about love amongst the rich and lazy?” To many people, including students of English Literature, there is a problem penetrating the ‘Mills and Boon’ romantic veneer of Jane Austen's plots to find the subtle analysis of social and moral behaviour that teachers and critics claim is beneath the surface. Even after studying her novels, many students find Austen’s world remote and perhaps rather trivial. READING NOVELS - READING FILMS - READING TEXTS The fact n that there are many film and television adaptations of Jane Austen's novels and this itself is a mark of her popularity as well as her skill as a writer. -
Female Psyche and Empowerment of Jane Austen and Lakshmi's Select
International Journal of Research (IJR) Vol-1, Issue-9 October 2014 ISSN 2348-6848 Female Psyche and Empowerment o f Jane Austen and Lakshmi’s Select Novels Dr. V. Asokkumar, M.A., M.Phil, Ph.D., Associate Professor of English, E.R.K.Arts & Science College, Erumaiyampatti – 636 905 Pappireddipatti (Tk), Dharmapuri (Dt) INDIA. Email: [email protected] ABSTRACT cultures. A nostalgic representative of the th This article aims at analyzing the classical 18 century, Jane Austen was occidental and oriental works of literary poised more in reason rather than art with special reference to the select emotion. Jane Austen wrote about what novels of Jane Austen and Lakshmi. she had experienced in her life. Hers is a Women novelists have a strong foundation world of the country middle class people. of social awareness and concentration on She deals with various aspects of love and family welfare. This article interprets Jane marriage and views them calmly and Austen’s three novels - Sense and dispassionately. She distrusts emotion and Sensibility Pride and Prejudice and describes it only by implication. Mansfield park and two of Lakshmi’s Lakshmi from Tamilnadu is a novels - Penn Manam and Oru Kaveriyai strong flavour of Tamil literature and Pola. This study except the first and the culture in her novels. She has a strong last are significantly titled implying the perception regarding the treatment of different strategies of female predicaments women in the Tamil society and is very amidst which Jane Austen and Lakshmi bold in portraying their emotions have set afloat their women characters kaleidoscopically. -
“—A Very Elegant Looking Instrument—” Musical Symbols And
('-a very elegant looking instrumgnl-"' Musical Symbols and Substance in Films of Jane Austen's Novels KATHRYN L. SHANKS LIBIN Department of Music, Vassar College, Poughkeepsie, NY 12604-0018 The recent flowering of Jane Austen novels on television and film raises fascinating issues of interpretation and authenticity. Great efforts have been made to recreate believable nineteenth-century backgrounds; the houses, furniture, costumes, jewelry, and so forth all show scrupulous historical research and attention to detail. origi- nal musical instruments have likewise been featured in these new visual versions of Jane Austen's texts. However, it is relatively easy to flt an attractive old instrument into its period setting; finding the right tone with the music itself is'a much more complicated problem, und fe* of the film makers involved with Austen's works have demonstrated perfect pitch in this matter. For the problem consists not simply of finding the right musical symbols: the proper instru- ments, or sound, or representative pieces of music that Jane Austen might have known; but of grappling, as well, with the musical substance ofher novels. In certain instances music is an essential plot device; and musical performance reveals key aspects of personality in many of her characters. Jane Austen herself faithfully practiced the piano, and copied out music into notebooks for her own use. Indeed, her music notebooks show that she was an accomplished musician, possessing a firm grasp of the rules and implications of musical notation and, not iurpiisingly, an elegant copyist's hand.' The mere existence of these notibooks, which represent countless hours of devoted labor as well as pleasure, shows the central role that music played in Austen's own life. -
Introduction
INTRODUCTION Jane Austen: An influential woman Thanks to her sharp wit and strong female characters, Jane Austen’s literature is still utterly relevant. Author Claire Harman asks – is she the most influential woman of the past 200 years? In 1811, a 35- year-old Hampshire spinster had her first book published anonymously: Sense And Sensibility, By A Lady. It got two brief, polite reviews, sold 500 copies and was swiftly forgotten. But 200 years later, everyone knows Jane Austen. She’s not just a writer, she’s a cult, a brand and a cultural touchstone. This marked the transition from obscurity to being one of this century and last’s most influential literary figures. It’s hard to believe her six short novels – yes, it really is just six – are still bought in their millions (because her work is out of copyright, there is no accurate estimate of how many). Austen’s influence and literary pulling-power can’t be over-estimated. She’s reached millions of people all over the world, not simply through the number of languages she’s been translated into (35 at the last count), but because there’s something in her work that readers connect with instantly. We read her because we feel she understands us – despite being born over two centuries ago. In many ways, her books are more in tune with our times and tastes than her own. In the first review she ever received, she was taken to task for a ‘want of newness’, but her books now seem markedly more original than anything else of the period. -
Spring 2013 Course Descriptions
Spring 2013 English Course Offerings SPECIAL TOPICS COURSES ENGL 190: Harry Potter Section 1: M 4:00-6:45 Dr. Ward ENGL 190: Detective Fiction Section 2: MWF 11:00-11:50 Prof. Baker From Sherlock Holmes to Harry Hole, Sullivan’s Island to Stockholm, soft-spoken to hard-boiled, fictional detectives and their stories enjoy an enduring and seemingly universal appeal. This course examines the history, conventions, and surprising variety of the detective fiction genre. Authors covered include (tentatively): Edgar Allan Poe, Sir Arthur Conan Doyle, Agatha Christie, Dorothy Sayers, Raymond Chandler, Walter Moseley, Ruth Rendell, Elmore Leonard, Ian Rankin, Sue Grafton, Sara Parestky, Jo Nesbo. ENGL 190: Engaging Charleston Section 3: TR 10:50-12:05 Dr. Kelly How is it that we manage to live side by side with total strangers? Did you ever wonder why we’re not strangling each other all the time? These courses combine the study of the two oldest and most complex of human technologies – politics and cities – to figure out how human beings organize themselves. Ride the buses, chart the neighborhoods, study the streets even as you learn the theories that underpin it all. You’ll learn to read in the concrete walls, roads and buildings the ideas of political thinkers from Plato to Hobbes to Marx and the present day. Three hundred and forty years old, the gem of a pre-modern feudal society, the African portal to North America, a nexus of the Atlantic World, Charleston cherished Enlightenment ideals even as it shackled the nation to slavery. In this class you’ll study Charleston’s structures, its people and history, alongside those who have struggled to find answers about justice, equality and freedom. -
Adaptations of Jane Austen's Older Women Hilary Richards Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2014 Silver Hair on the Silver Screen: Adaptations of Jane Austen's Older Women Hilary Richards Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Film and Media Studies Commons, and the Gender and Sexuality Commons Recommended Citation Richards, Hilary, "Silver Hair on the Silver Screen: Adaptations of Jane Austen's Older Women" (2014). All Theses. 1910. https://tigerprints.clemson.edu/all_theses/1910 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]. SILVER HAIR ON THE SILVER SCREEN: ADAPTATIONS OF JANE AUSTEN’S OLDER WOMEN A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Hilary Richards August 2014 Accepted by: Dr. Erin Goss, Committee Chair Dr. Elizabeth Rivlin Dr. Sean Morey ABSTRACT Three adaptations of Jane Austen novels were produced between 1995 and 1999. These late 90s films represented a set of romantic comedies created in the style of heritage cinema. In adapting Sense and Sensibility, Emma, and Mansfield Park, filmmakers reshaped the older women supporting characters in order to better fit the generic conventions of romantic comedies. Romantic comedies of the 1990s relied on a narrow view of the marriage plot whereby the focus in wholly on the courtship process of a predominately affluent, white, heterosexual couple. -
Sense and Sensibility by Kate Hamill Based on the Novel by Jane Austen
SENSE AND SENSIBILITY BY KATE HAMILL BASED ON THE NOVEL BY JANE AUSTEN DRAMATISTS PLAY SERVICE INC. SENSE AND SENSIBILITY Copyright © 2016, Kate Hamill, based on the novel by Jane Austen All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of SENSE AND SENSIBILITY is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for SENSE AND SENSIBILITY are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
"SENSE and SENSIBILITY" Screenplay by Emma Thompson Based on the Novel by Jane Austen EXT. OPEN ROADS
"SENSE AND SENSIBILITY" Screenplay by Emma Thompson Based on the novel by Jane Austen EXT. OPEN ROADS - NIGHT - TITLE SEQUENCE A series of traveling shots. A well-dressed, pompous-looking individual (JOHN DASHWOOD, 35) is making an urgent journey on horseback. He looks anxious. EXT. NORLAND PARK - ENGLAND - MARCH 1800 - NIGHT Silence. Norland Park, a large country house built in the early part of the eighteenth century, lies in the moonlit parkland. INT. NORLAND PARK - MR DASHWOOD'S BEDROOM - NIGHT In the dim light shed by candles we see a bed in which a MAN (MR DASHWOOD, 52) lies his skin waxy, his breathing laboured. Around him two silhouettes move and murmur, their clothing susurrating in the deathly hush. DOCTORS. A WOMAN (MRS DASHWOOD, 50) sits by his side, holding his hand, her eyes never leaving his face. MR DASHWOOD (urgent) Is John not yet arrived? MRS DASHWOOD We expect him at any moment, dearest. MR DASHWOOD looks anguished. MR DASHWOOD The girls--I have left so little. MRS DASHWOOD Shh, hush, Henry. MR DASHWOOD Elinor will try to look after you all, but make sure she finds a good husband. The men are such noodles hereabouts, little wonder none has pleased her. They smile at each other. MRS DASHWOOD is just managing to conceal her fear and grief MRS DASHWOOD But Marianne is sure to find her storybook hero. MR DASHWOOD A romantic poet with flashing eyes and empty pockets? MRS DASHWOOD As long as she loves him, whoever he is. MR DASHWOOD Margaret will go to sea and become a pirate so we need not concern ourselves with her. -
On Thursday, It Ran Through LC
A4 + PLUS >> Live Oak man killed in Alachua crash, See 2A LOCAL FGC Suwannee cooter Timberwolves making comeback go all-academic Story Below See Page 1B WEEKEND EDITION FRIDAY & SATURDAY, JULY 13 & 14, 2018 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | $1.00 Lake City Reporter LAKECITYREPORTER.COM BUS DRIVER SHORTAGE The road to DC How will Friday daycare ‘Baby & Me’ “Baby & Me,” a library kids get program for parents and babies, is held on Fridays at 11 a.m. at the main branch of the Columbia home? County Public Library, 308 NW Columbia Ave. in School district cuts bus downtown Lake City. For more about the library’s service to Happy House, children’s programs, call citing a lack of drivers. 386-758-2101. By CARL MCKINNEY Saturday [email protected] Breakfast with the Chief The wheels on the bus go Chief Argatha Gilmore ’round and ’round, but there will host 2018’s third quar- aren’t enough drivers to go terly Breakfast with the around — Chief at American Legion forcing some Post 57. Columbia Please join us for a com- County stu- plimentary breakfast, infor- dents to wait mative discussion, and com- until another munity forum on neighbor- route wraps hood issues. Saturday, July up before Carswell 14, 10–11:30 a.m. (Breakfast Photos by CARL MCKINNEY/Lake City Reporter anyone is served at 10 a.m.) American Gov. Rick Scott, who is campaigning for a U.S. Senate seat, shakes hands with Kevin Gray, who owns a available to take them home. Legion Post 57, 2602 SW portable building business, during a stop at Halpatter Brewing Co.