The Zip Code Plays: Los Angeles, a Series of Six Original Audio Plays, Each Set in a Different L.A
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The Malcontent Malevoles Chamber
A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1a ismigg: :[ N1/bA] sig: A2r ln 0001 THE ln 0002 MALCONTENT. ln 0003 By John Marston. ln 0004 1604. ln 0005 Printed at London by V. S. for William Aspley, ln 0006 and are to be sold at his shop in Paul’s ln 0007 Churchyard. img: 2a ismigg: :A 22vb sig: A3r ln 0001 BENJAMINO JONSONIO ln 0002 POETAE ln 0003 ELEGANTISSIMO ln 0004 GRAVISSIMO ln 0005 AMICO ln 0006 SUO CANDIDO ET CORDATO, ln 0007 JOHANNES MARSTON ln 0008 MUSARUM ALUMNUS ln 0009 ASPERAM HANC SUAM THALIAM ln 0010 D. D. img: 3a sig: A3v ln 0001 To the Reader. -
Book Review: TF Wharton (Ed). the Drama of John Marston. Cambridge
112 Book Reviews unfair to criticize a researcher too harshly for a following a pre-existing set of selection criteria. At the same time it is reasonable to expect that a declared set of criteria should be rigorously maintained, and that the intellectual basis of those criteria should be clearly stated and take some account of the historical reality of the period under examination. The ambitious task undertaken by the REED project is to be applauded, and it is to be regretted that the present volume falls somewhat short of the standards set by the project as a whole. david hickman T.F. Wharton (ed). The Drama of John Marston: Critical Re-Visions. Cam- bridge: Cambridge University Press, 2000. Pp xiii, 233. For a dramatist with at least three canonically important works (The Dutch Courtesan, The Malcontent, and Antonio’s Revenge) contemporary critics have been especially chary of addressing John Marston’s plays. Of those three works, one (Antonio’s Revenge) finds general mention only as a spectacularized and stylized foil to Hamlet.1 Indeed, only a single work – The Dutch Courtesan – today receives attention approaching any degree of regularity: Susan Baker, Donna Hamilton, and Jean Howard have each written outstanding material- ist/feminist appraisals.2 This continuing paucity of critical regard is especially surprising given the astonishing generic range and inventiveness of Marston’s plays as well as their incisive representations of a particularly volatile period in early modern culture. Marston collaborated brilliantly with some of the most distinguished dramatists of the period (Ben Jonson and George Chapman on Eastward Ho!; John Webster on additions to The Malcontent) and also mis- chievously burlesqued the genres they themselves defined. -
Into the Future on Three Wheels
Mitsubishi The 9th Grand Prix Winner A Bimonthly Review of the Mitsubishi Companies and Their People Around the World 2009-2010 Asian Children's2008- Enikki Festa 2009 Winners December & January Grand Prix Japan Humans are social beings. People live in groups. We Bangladeshis like to live with our parents, our brothers and sisters, our grandparents, and other relatives. In our family, I live with my brother, my parents, and my grandmother. We share each other’s joys and sorrows. That makes our lives fulfilling. Cycling ＊ The above sentences contained in this Enikki has been translated from Bengali to English. Into the Future The 9th Grand Prix Winner on Three Wheels Sadia Islam Mowtushy Age:11 Girl People’s Republic of Bangladesh “Wrapping Up the Year with Toshikoshi Soba” oba is a Japanese noodle that is eaten in various ways longevity, because it is long and thin. There are many other depending on the season. In summer, soba is served cold explanations and no single theory can claim to be the definitive S and dipped in a chilled sauce; in winter, it comes in a hot truth, but this only adds to the mystique of toshikoshi soba. broth. Soba is often garnished with tasty tidbits, such as tempura shrimp, or with a bit of boiled spinach to add a touch of color. Soba has been a favorite of Japanese people for centuries and the popular buckwheat noodle has even secured a role in various Japanese traditions, including the New Year’s celebration. Japanese people commonly eat soba on New Year’s Eve, when the old year intersects with the new year, and this is known as toshikoshi or “year-crossing” soba. -
The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved. -
Alaska Senior Centers Open Back Up, but Carefully
A publication of Older Persons Action Group, Inc. Free Serving Alaskans 50+ Since 1978 Volume 44, Number 5 May 2021 Alaska senior centers open Can you transmit COVID if back up, but carefully. you are vaccinated?– page 5 – page 13 TRAVEL Exploring and Sleeping difficulties? Try a enjoying other cultures wearable tracker. – page 5 without leaving the country. – page 24 Get outside! Check out the festivals and other upcoming activities in our calendar of events. – page 17 Enjoy your Retirement! Chester Park is a safe, secure 55+ Adult Community. Our Member-Owners enjoy all the benefits of home ownership with none of the hassles. DON’T WAIT! UNITS SELL QUICKLY! Safe, Secure Senior Living For more information or a tour please call: 907-333-8844 www.chesterparkcoop.com EagleAbove: River’s Sheila Chris Fearon, Galloway 72, runsand orRichard walks the Brandon Eagle River relax Road in a seeming tropical oasis nearat his the house Mann every Leiser day. PartMemorial of his routine Greenhouse includes inpicking Anchorage. up roadside The facility is open to garbagethe public along the daily, way, 8 something a.m. to 3:30 he’s been p.m., doing free for admission. over 10 years. For “I more have aactivities, see the followingevents of calendarpeople that on honk page at me,19. Photo for Senior Voice by Michael Dinneen which is good. Usually.” Colin Tyler Photography Perspectives seniorvoicealaska.com Older Americans Month: Communities of Strength Alaska Commission on Aging This year’s theme is “Com- we can find strength, and something new allows us story, or service – we help munities of Strength,” rec- create a stronger future. -
Abstracta Iranica, Volume 42-43 | 2020 Farzaneh Hemmasi
Abstracta Iranica Revue bibliographique pour le domaine irano-aryen Volume 42-43 | 2020 Comptes rendus des publications de 2019-2020 Farzaneh Hemmasi. Tehrangeles Dreaming: Intimacy and Imagination in Southern California's Iranian Pop Music Laetitia Nanquette Electronic version URL: https://journals.openedition.org/abstractairanica/52754 DOI: 10.4000/abstractairanica.52754 ISBN: 1961-960X ISSN: 1961-960X Publisher: CNRS (UMR 7528 Mondes iraniens et indiens), Éditions de l’IFRI Electronic reference Laetitia Nanquette, “Farzaneh Hemmasi. Tehrangeles Dreaming: Intimacy and Imagination in Southern California's Iranian Pop Music”, Abstracta Iranica [Online], Volume 42-43 | 2020, document 2, Online since 15 April 2021, connection on 30 July 2021. URL: http://journals.openedition.org/abstractairanica/ 52754 ; DOI: https://doi.org/10.4000/abstractairanica.52754 This text was automatically generated on 30 July 2021. Tous droits réservés Farzaneh Hemmasi. Tehrangeles Dreaming: Intimacy and Imagination in Southern ... 1 Farzaneh Hemmasi. Tehrangeles Dreaming: Intimacy and Imagination in Southern California's Iranian Pop Music Laetitia Nanquette REFERENCES Farzaneh Hemmasi. Tehrangeles Dreaming: Intimacy and Imagination in Southern California's Iranian Pop Music. Durham: Duke University Press, 2020, 264p., 40 illust. ISBN: 978-1-4780-0836-1 1 This book explores the production of pop music in Tehrangeles, a name given to Los Angeles by the Iranian diaspora, through its impact on Iranian identity. This form of pop music has been circulating widely abroad and in Iran for decades, and it is particularly relevant when considering cultural exchanges between Iran and its diaspora. Hemmasi explores how music producers have positioned themselves to reflect on the question of the Iranian nation. -
Playwright and Minister
PLAYWRIGHT AND MAN OF GOD: RELIGION AND CONVENTION IN THE COMIC PLAYS OF JOHN MARSTON by Blagomir Georgiev Blagoev A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Blagomir Georgiev Blagoev (2010) PLAYWRIGHT AND MAN OF GOD: RELIGION AND CONVENTION IN THE COMIC PLAYS OF JOHN MARSTON Blagomir Georgiev Blagoev Doctor of Philosophy Graduate Department of English University of Toronto 2010 ABSTRACT John Marston’s literary legacy has inevitably existed in the larger-than-life shadows of his great contemporaries William Shakespeare and Ben Jonson. In the last two centuries, his works were hardly taken on their own terms but were perceived instead in overt or implicit comparison to Shakespeare’s or Jonson’s. As a result, Marston’s plays acquired the lasting but unfair image of haphazard concoctions whose cheap sensationalism and personal satire often got them in trouble with the authorities. This was the case until recently, especially with Marston’s comic drama. Following revisionist trends, this study sets out to restore some perspective: it offers a fresh reading of Marston’s comic plays and collaborations—Antonio and Mellida, What You Will, Jack Drum’s Entertainment, The Dutch Courtesan, The Malcontent, Parasitaster, Eastward Ho, and Histrio-Mastix—by pursuing a more nuanced contextualization with regard to religious context and archival evidence. The first central contention here is that instead of undermining political and religious authority, Marston’s comic drama can demonstrate consistent conformist and conservative affinities, which imply a seriously considered agenda. This study’s second main point is that the perceived failures of Marston’s comic plays—such as tragic ii elements, basic characterization, and sudden final reversals—can be plausibly read as deliberate effects, designed with this agenda in mind. -
Alook at Ucla
A LOOK AT UCLA As one of the nation’s premier universities, UCLA has come so Through academic out- far, so fast in its rise to the top tier of institutions of higher reach, UCLA works with education. From its celebrated faculty to its high-achieving K-12 schools through- students and distinguished alumni, UCLA’s College of Letters out Los Angeles to help and Science and 11 professional schools are committed to greater numbers of stu- advancing the common good through research, teaching dents prepare to com- and active participation in the communities they serve. Uniquely pete successfully for positioned at the crossroads of the world’s economies and college. UCLA also is cultures, UCLA combines outstanding intellectual achieve- partnering with com- ment with an innovative, entrepreneurial style and a deep munity colleges to in- sense of civic responsibility. Some of the university’s more crease the number of notable recent achievements include: underrepresented stu- Faculty, Students & Alumni dents transferring to the university. Additionally, UCLA faculty have been awarded two Nobel Prizes in recent UCLA faculty, research- years: biochemist Paul Boyer in chemistry (1997) and pharma- ers and students pro- cologist Louis Ignarro in medicine (1998). Among faculty there vide leadership and have been three other Nobelists, nine National Medals of public service in health Science recipients and hundreds of Guggenheim Fellow- care, law, economic de- Royce Hall ships, Fulbright Awards and other academic distinctions. velopment, social wel- UCLA educates more students than other university in Califor- fare, urban planning, public policy, arts and the environment. nia and was the most sought-after institution in the nation for Most academic departments have major research projects, this fall's freshman class. -
Located in the Heart of Beverly Hills As the Cornerstone of the Golden
Located in the heart of Beverly Hills as the cornerstone of the golden triangle, the Wallis Annenberg Center for the Performing Arts (The Wallis) officially opens its doors to the public on October 15-18, 2013 with a dedication ceremony and a series of Galas, followed by programming beginning November 8 with the Martha Graham Dance Company. This new venue transforms a Beverly Hills city block, facing Santa Monica Boulevard, between Crescent and Canon Drives, into the first performing arts center to be built there: a vibrant arts destination and a major cultural and education hub for audiences of every age, with two distinct, elegant buildings: the renovated historic 1934 Italianate-style Beverly Hills Post Office and the new, contemporary 500-seat, state-of-the-art Bram Goldsmith Theater. Together these two structures embrace the city’s history and future, creating a new artistic and visual landmark, and an entryway into Beverly Hills’ fabled shopping district. Within the treasured Post Office, existing spaces are transformed into the 150-seat Lovelace Studio Theater, a theater school for young people (opening in 2014), a café and gift shop. For its Inaugural Season, The Wallis will produce and present theater, music and dance, as well as programming for the family audience, with the participation of established stage artists Mark Brokaw, Leonard Foglia, Ricky Ian Gordon, Frederica von Stade, Maurice Hines, Marsha Norman, Jason Robert Brown, Emma Rice, Harry Gregson- Williams, and the Kneehigh Theater. The Wallis will enhance the live theatre experience through special exhibitions that will reveal another layer meaning to a show or presentation. -
Media Outlets Media Information
Duis nibh ex exer si bla at acil iril etum zzril ex el in ver illaore MEDIA INFORMATION PRESS CREDENTIALS practice schedules. Arrangements to UCLA campus at the corner of Bellagio Media and photography credentials for attend practice must be made in advance and DeNeve Drive. Use above directions UCLA home games may be obtained by through the sports information offi ce. There to reach campus, but exit the 405 Freeway working press only by writing or calling Amy will be no availability on gamedays prior onto Sunset Boulevard. Travel east on Hughes at the UCLA Sports Information to competition. Post game interviews at Sunset to Bellagio Drive, which is just east of Offi ce, PO Box 24044, Los Angeles, CA UCLA’s Easton Stadium are conducted Veteran Ave. (approx. 1 mile from freeway) 90024, (310) 206-8123; email: asymons@ in the home bullpen following the team and before the Westwood Blvd. entrance to ucla.edu. All requests should be submitted meeting. Please contact Amy Hughes in the campus. Turn right onto Bellagio, then right at least 24 hours in advance. Press and sports information department to schedule onto DeNeve Drive to enter parking lot 11. photo credentials can be picked up at the all interviews. The entrance to Easton Stadium is on the entrance gate. northeast corner of Bellagio and DeNeve. TRAVEL INFORMATION Parking can be purchased at lot 11 on game PHOTOGRAPHY For security purposes, the UCLA Sports days, or at the parking kiosk located at the Television and photo credentials entitle Information Offi ce does not release to the Westwood Plaza entrance to campus. -
Identity, Disguise and Satire in Three
IDENTITY, DISGUISE AND SATIRE IN THREE COMEDIES OF JOHN MARSTON by BARRY MALCOLM PEGG B.A., University of Keele, 1963 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required, standard THE UNIVERSITY ,OF BB.2T.I SH COLUMBIA July, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my r written permission. Department The University of British Columbia Vancouver 8, Canada ABSTRACT This thesis investigates the use of the conventions of disguise and deception in three comedies of John Marston (1576-1634)—What You Will. The Malcontent. and The Dutch Courtesan—in order to examine his handling of a convention for thematic purposes. The frequency of disguise in the theatre of the period may be explained by its appeal on more than one level. Its direct visual display of theatrical ingenuity was an immediate source of compelling interest for all spectators, whether in comedy or tragedy. On a more sophisticated level, the metaphysical implications of the discrepancy between ap• pearance and reality were explored thematically by the more thoughtful of the public-theatre playwrights, as well as the satiric playwrights of the private theatres, both of course making full use of the purely theatrical possibilities. -
Revenge Tragedy | Eleanor Prosser (Essay Date 1967)
Literary Criticism (1400-1800): Revenge Tragedy | Eleanor Prosser (essay date 1967) Revenge Tragedy | Eleanor Prosser (essay date 1967) ©2009 eNotes.com, Inc. or its Licensors. Please see copyright information at the end of this document. Eleanor Prosser (essay date 1967) SOURCE: Prosser, Eleanor. “Revenge on the English Stage, 1562-1607.” In Hamlet and Revenge, pp. 36-73. Stanford, Calif.: Stanford University Press, 1967. [In the following essay, Prosser examines a vast array of revenge tragedies in an effort to elucidate “the moral response of the Elizabethan audience to revenge itself.”] Although a study of the Elizabethan revenge play normally restricts itself to plays related to the “Kydian formula” as defined by Fredson Bowers, our concern in this chapter is with the moral response of the Elizabethan audience to revenge itself. If we can determine the audience's reaction to specific revenge motifs in any type of play (in a Biblical drama such as David and Bethsabe, a chronicle history such as Edward II, or a comedy such as The Dumb Knight, as well as in a revenge play proper such as The Spanish Tragedy), we should be better prepared to recognize established conventions. For an audience, a given convention evokes a given response: a bastard son who chafes at his inferior position is a dangerous fellow, whether he appears in Much Ado About Nothing or King Lear. We shall, accordingly, examine all plays produced between 1562 and 1607 in which revenge is a clearly defined motive.1 To understand the full impact of the revenge motif on the Elizabethan audience, we should probably start with the medieval drama.