Guide to Play Selection; a Selective Bibliography for Production and Study of Modern Plays
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The White Guard Pdf, Epub, Ebook
THE WHITE GUARD PDF, EPUB, EBOOK Mikhail Afanasevich Bulgakov | 304 pages | 06 Jul 2006 | Vintage Publishing | 9780099490661 | English | London, United Kingdom The White Guard PDF Book Thanks for telling us about the problem. Previous George Daniel. Just Mercy. Bulgakov's letter is a testament to the emerging double-think of the Stalin era; at once superficially defiant, yet exhibiting an insidious desire to conform. Changes to the decree were made later, refining the organisation's structure. Perhaps the most credible of all the characters — in novel as well as play — is Bulgakov's own alter ego, Alexei Turbin. Although the founding of these "fire brigades" was often done in a non-partisan manner, they often split into two opposing factions during the autumn of This never took place, but for the rest of his life — he was to die, prematurely, worn out and demoralised in — Bulgakov expected the phone to ring again. Bulgakov was a heavily marked man, and by the time Stalin made his telephone call it seems all too likely that the writer was facing the same fate as other dissident voices, such as his brother-in-law Andrey Zemsky: a prison sentence or internal exile. From until the organisation's demise, this post was occupied by Gen. Literature Poetry Lit Terms Shakescleare. Having qualified in , Bulgakov had seen six months' service on the frontline as an army doctor; after this he transferred to the civil medical service and worked in a rural hospital. The Guard did not distinguish between any non-socialist political views and received the support of all non-socialist parties. -
Immigrant Fiction, Religious Ritual, and the Politics of Liminality, 1899-1939
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2008 Rights of Passage: Immigrant Fiction, Religious Ritual, and the Politics of Liminality, 1899-1939 Laura Patton Samal University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the English Language and Literature Commons Recommended Citation Samal, Laura Patton, "Rights of Passage: Immigrant Fiction, Religious Ritual, and the Politics of Liminality, 1899-1939. " PhD diss., University of Tennessee, 2008. https://trace.tennessee.edu/utk_graddiss/343 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Laura Patton Samal entitled "Rights of Passage: Immigrant Fiction, Religious Ritual, and the Politics of Liminality, 1899-1939." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Mary E. Papke, Major Professor We have read this dissertation and recommend its acceptance: Thomas Haddox, Carolyn R. Hodges, Charles Maland Accepted for -
Creditors' Committees: Giving Tort Claimants a Voice in Chapter 11 Bankruptcy Cases
Emory Bankruptcy Developments Journal Volume 31 Issue 2 The Twelfth Annual Emory Bankruptcy Developments Journal Symposium 2015 Creditors' Committees: Giving Tort Claimants a Voice in Chapter 11 Bankruptcy Cases Corinne McCarthy Follow this and additional works at: https://scholarlycommons.law.emory.edu/ebdj Recommended Citation Corinne McCarthy, Creditors' Committees: Giving Tort Claimants a Voice in Chapter 11 Bankruptcy Cases, 31 Emory Bankr. Dev. J. 431 (2015). Available at: https://scholarlycommons.law.emory.edu/ebdj/vol31/iss2/8 This Comment is brought to you for free and open access by the Journals at Emory Law Scholarly Commons. It has been accepted for inclusion in Emory Bankruptcy Developments Journal by an authorized editor of Emory Law Scholarly Commons. For more information, please contact [email protected]. MCCARTHY GALLEYSPROOFS 7/9/2015 1:00 PM CREDITORS’ COMMITTEES: GIVING TORT CLAIMANTS A VOICE IN CHAPTER 11 BANKRUPTCY CASES ABSTRACT Over the years, tort claimants have increasingly appeared in the bankruptcies of corporate debtors. More so than other participants in bankruptcy proceedings, tort claimants are brought into this forum involuntarily. Unlike shareholders, lenders, or even the corporate debtor’s employees, tort claimants often do not choose to engage in commercial transactions with corporate debtors. Rather, their claims arise because the debtor has harmed them without their consent. To protect their interests, tort claimants often request that courts order the United States Trustee to appoint a creditors’ committee to represent them. Courts have been authorized to do so under 11 U.S.C. § 1102(a)(2). While courts have the authority to form creditors’ committees for tort claimants, courts do not uniformly grant tort claimants’ requests. -
Gender and the Family in Contemporary Chinese-Language Film Remakes
Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience. -
Annual Report 2014-2015 REDDING CONNECTICUT Land Trust Hosts Lunch on the Ledge, October 2014
Town of Redding Annual Report 2014-2015 REDDING CONNECTICUT Land Trust hosts Lunch on the Ledge, October 2014 Redding Land Trust Board of Trustees: Standing (l to r): Gordon Loery, Silvia Erskine, Sean McNamara, Kevin Tschudi, David Heald. Sitting (l to r): Henry Merritt, Jane Ross, Mary Anne Guitar, Emily d’Aulaire, Laurie Heiss. REDDING CONNECTICUT 06875 SETTLED 1714 INCORPORATED 1767 Celebrating the Redding Land Trust’s 50th Anniversary This year’s Annual Report is dedicated to the Redding Land Trust in celebration of its 50th EBRATIN EL G C anniversary. When the Land Trust began its work half a century ago its goal was a simple • one: preserve the natural beauty of our town. That goal has not changed over the years and • Y today the Redding Land Trust is the steward of more than 1,700 acres of prime open space – E A A E R ID woodlands and wetlands, splashing streams and quiet ponds, sweeping vistas – all kept safe S50 T O A F A GRE for generations to come. CONTENTS Board of Selectmen .............................. 2 Elected Town Officials . 29 Board of Finance . 2 Appointed Town Officials . 30 Treasurer ...................................... 3 E-mail........................................ 30 Town Clerk .................................... 4 Non-elected Town Employees .................... 31 Tax Collector ................................... 4 Addresses, phone & hours ....................... 32 Assessor ....................................... 5 Board of Assessment Appeals...................... 5 Redding’s Annual Report is a reporting of the financial Registrars ..................................... 5 operations and fiscal health of the town for 2014-15. Board of Ethics ................................. 6 The complete audit is posted on the Town’s webpage Human Services ................................ 6 and copies are available in the Town Clerk’s office. -
Social Construction of Singapore's Humor Industry
Intercultural Communication Studies XIX: 1 2010 Lin & Tan How Cultural and Linguistic Pluralism Shape Humor: Social Construction of Singapore’s Humor Industry Trisha T. C. Lin & Phoebe Shu Wei Tan, Nanyang Technological University This study views Singapore’s humor industry through the theoretic lenses of social construction. It aims to examine the unique characteristics of Singapore humor and investigate how Singapore’s rojak culture (Chua, 1998) and social actors (content creator, market/audience, and government/policy) have shaped the trajectory of the humor industry. Data were collected through interviews with TV comedy producers, stand-up comedians, and theatre practitioners, as well as through three-month-long observation of local comedy scenes. Thematic data analysis (Miles & Huberman, 1994) was used to analyze transcribed interviews, observational field notes, and second-hand documents. The findings show Singapore humor is characterized by over-the-top visuals, frequent use of “Singlish” and Chinese dialects, satires of current affairs, and influences from western culture. The fear of failure, mianzi (Hwang, Francesco & Kessler, 2003), is Singapore’s cultural trait that hinders the development of Singapore’s humor industry. Its humor content creation relies on a formulaic approach, in order to cater for the perceived needs of mainstream audiences. Moreover, the content censorship, which serves as a crucial means to maintain order and harmony in this multicultural and multiracial society, still restricts creativity in humor creation and partially accounts for the lackadaisical Singapore humor industry. Humor is an innately complicated social phenomenon which can be found universally in all cultures, and plays a central, necessary part in social life (Billig, 2005). -
JEAN ANOUILH the Australian Elizabethan Theatre Tru St
, .. ., ...I I I 1 • ,,~- • i' JEAN ANOUILH The Australian Elizabethan Theatre Tru st when you fly with Trans-AustraliaAirlines PAT RON : H ER MAJESTY T H E QUEE N P RE SIDE T The Rt. H on . Sir John Latham, G.C.M.G., Q .C. CH AIRM A1 Dr. H . C. Coombs EXECUTIVE Dffi ECTOR Hu gh Hunt HO . SECRETARY :l,faurire Parker STATE REPRESE , TAT JVES: , ew South \,Vales Mr. C. J. A. lvloscs, C.B .E. Qu eensland Prof esso r F. J . Schone II Western Australia Pr ofessor F. Alexander Victoria Mr . A . H. L. Gibson Sou tit Australia Mr. L. C. Waterm an Tasmania Mr . G. F. Davies In presenting TIME REMEMBERED , we are paying tribute to a dramatist whose contribution to the contemporary theatre scene is a11 outstanding one and whose influence has been most strongly felt during the post-war years in Europe. The J1lays of Jean An ouilh have not been widely produced in Cao raln and First Officer at the co mrol s of a TA A Viscount . Australia , and his masterly qualities as a playwright are not TAA pilots are well experi years of flying the length and sufficiently k11011·n. enced and maintain a high breadth of Australia. standard of efficiency in flying TAA 's Airmanship is the total TIME REME1vlBERED htippily contains some of the the nation's finest fleet of skill of many people-in the most typical aspects of his work . .. a sense of the comic, modern aircraft. air and on the ground-w ork ing toward s a common goal: almost biza1'1'e,and tl haunting nostalgia which together pro When you and your family fly your safety, satisfaction and T AA, you get with your ticket peace of mind. -
The White Guard PDF Book
THE WHITE GUARD PDF, EPUB, EBOOK Mikhail Afanasevich Bulgakov | 304 pages | 06 Jul 2006 | Vintage Publishing | 9780099490661 | English | London, United Kingdom The White Guard PDF Book Sure he had and s It was indeed a very amusing book. LitCharts Teacher Editions. When the shooting stars Use my words as bullets, Crimson with hate. I think that I was looking for something similar to Grossman's Life and Fate , but I just couldn't really find it here, and the introduction set up the book so well, too. This is a very interesting piece of text about the theatre and life within theatre. Nothing is ever perceived clear as to what is actually going on, in terms of leadership. Jul 26, Jayaprakash Satyamurthy rated it it was amazing. While The White Guard , Bulgakov's first novel, doesn't have the same surreal or supernatural elements as his later works, such as The Master and Margarita or Heart of a Dog , those qualities are presaged in the dream sequences and lyrical descriptions of the city of Kiev. More Details Born in Kiev in , the eldest of what was to become a family of seven children, Bulgakov belonged not only by blood — his father was a professor of theology at Kiev's theological seminary — but also by inclination to the ancient regime. While the main story revolves around the members of the Ukrainian Turbin family, the essence of the story is much more far reaching and captures the seemingly endless turbulence of both the City and the nation. During the strike Finnish police forces were effectively disbanded, as they had been closely associated with the occupying Russian authorities. -
Abbey Theatre's
Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, Chicago A NOTE FROM DIRECTOR CAITRÍONA MCLAUGHLIN Shakespeare has redefined what a great American Shakespeare theater can be—a company that defies When Neil Murray and Graham McLaren (directors of theatrical category. This Regional Tony Award-winning the Abbey Theatre) asked me to direct Roddy Doyle’s theater’s year-round season features as many as twenty new play Two Pints and tour it to pubs around productions and 650 performances—including plays, Ireland, I was thrilled. As someone who has made musicals, world premieres, family programming, and presentations from around the globe. theatre in an array of found and site-sympathetic The work is enjoyed by 225,000 audience members annually, with one in four under the age of spaces, including pubs, shops, piers, beneath eighteen. Chicago Shakespeare is the city’s leading producer of international work, and touring flyovers, and one time inside a de-sanctified church, its own productions across five continents has garnered multiple accolades, including the putting theatre on in pubs around Ireland felt like a prestigious Laurence Olivier Award. Emblematic of its role as a global theater, the company sort of homecoming. I suspect every theatre director spearheaded Shakespeare 400 Chicago, celebrating Shakespeare’s legacy in a citywide, based outside of Dublin has had a production of yearlong international arts and culture festival, which engaged 1.1 million people. The Theater’s some sort or another perform in a pub, so why did nationally acclaimed arts in literacy programs support the work of English and drama teachers, this feel different? and bring Shakespeare to life on stage for tens of thousands of their students each school year. -
List of Play Sets
Oxfordshire County Council List of Play Sets Available from the Oxford Central Library 2015 Oxford Central Library – W e s t g a t e – O x f o r d – O X 1 1 D J Author Title ISBN Copies Cast Genre Russell, Willy Shirley Valentine: A play T000020903 2 1f Comedy (Dramatic) Churchill, Caryl Drunk enough to say I love you? T000096352 3 2m Short Play, Drama Churchill, Caryl Number T000026201 3 2m Drama Fourie, Charles J. Parrot woman T000037314 3 1m, 1f Harris, Richard The business of murder T000348605 3 2m, 1f Mystery/Thriller Pinter, Harold The dumb waiter: a play T000029001 3 2m Short Play Plowman, Gillian Window cleaner: a play T000030648 3 1m, 1f Short Play Russell, Willy Educating Rita T000026217 3 1m, 1f Comedy (Dramatic) Russell, Willy Educating Rita T000026217 3 Simon, Neil They're playing our song T000024099 3 1m, 1f Musical; Comedy Tristram, David Inspector Drake and the Black Widow: a comedy T000035350 3 2m, 1f Comedy Ayckbourn, A., and others Mixed doubles: An entertainment on marriage T000963427 4 2m, 1f Anthology Ayckbourn, Alan Snake in the grass: a play T000026203 4 3f Drama Bennett, Alan Green forms (from Office suite) N000384797 4 1m, 2f Short Play; Comedy Brittney, Lynn Ask the family: a one act play T000035640 4 2m, 1f Short Play; Period (1910s) Author Title ISBN Copies Cast Genre Brittney, Lynn Different way to die: a one act play T000035647 4 2m, 2f Short Play Camoletti, Marc; Happy birthday 0573111723 4 2m, 3f Adaptation; Comedy Cross, Beverley Chappell, Eric Passing Strangers: a comedy T000348606 4 2m, 2f Comedy (Romantic) -
Sonya Loftis
SHAKESPEAREAN SURROGATIONS: MODERN DRAMATISTS REWRITE RENAISSANCE DRAMA by SONYA FREEMAN LOFTIS (Under the Direction of Frances Teague) ABSTRACT This study uses performance theory to examine modern dramatic adaptations of Renaissance plays, arguing that modern and postmodern dramatists rewrite the literary past in an act of cultural and theatrical surrogation. The first chapter addresses modern playwrights’ need to destroy and replace their Renaissance forbearers. Presenting the human body, especially the body of the actor or playwright as an “effigy of flesh” that contains cultural memory and embodies the literary canon, these playwrights work metaphorical violence on corpses that represent the literary corpus. The second chapter focuses on Bernard Shaw’s life-long struggle to present himself as a cultural surrogate for Shakespeare, through the performance of his public persona as G.B.S., through his Shakespearean criticism, and through his appropriation of King Lear in Heartbreak House. Shaw’s need to destroy Shakespeare’s corpse and corpus leads to a battle against aestheticism and pessimistic passivity. The third chapter examines Brecht’s adaptation of Marlowe’s Edward II and argues that the alienation effect can be understood as a “surrogation effect,” focusing on images of violent skinning in Brecht’s play, as his characters enact surrogation by tearing the flesh from both corpse and corpus. The fourth chapter explores surrogation as cannibalism in Müller’s Hamletmachine and Shakespeare’s Hamlet, interpreting the father’s corpse and the mother’s womb as symbols for literary adaptation in Müller’s play. The fifth chapter deals with Beckett’s Endgame and Happy Days, reading Endgame as an adaptation of The Tempest and arguing that the disembodied characters in Happy Days represent the erasure of the Shakespearean past. -
Genealogy and Homographesis in the Fiction of Sumner Locke Elliott
‘The Writers’ Picnic’: Genealogy and Homographesis in the Fiction of Sumner Locke Elliott SHAUN BELL University of New South Wales I wanted to begin this essay with a well-known anecdote recounting the dinner party Patrick White and Manoly Lascaris held in their Martin Road home for Sumner Locke Elliott. Elliott’s biographer Sharon Clarke suggests that this anecdote is ‘told so often . some have declared it fiction’ (‘Writing Life’ 239).1 As with a fictional event, there are conflicting interpretations of the evening—Clarke called it ‘a great success,’ yet David Marr’s biography of White doesn’t mention the evening at all. White had greatly admired Elliott’s third novel, Edens Lost, calling it ‘marvellous,’ noting the ‘atmosphere and place, tone of voice, and the characters—above all the characters’ (Altman, ‘Crushed’). White had said as much to Elliott’s friend and fellow New Yorker Shirley Hazzard but despite this, the admiration and affection Elliott expected were absent; second hand accounts suggest that it was a ‘quiet’ and ‘awkward’ evening, and Elliott felt ignored. The punchline (as it were) of the anecdote sees Elliott leaving the party dejected. He recounts: After saying our goodbyes, with Patrick standing at the top of the stair, I began walking back down and I heard him cry behind me: ‘Come back! Come back!’ As I was returning to New York within the following days, I thought he meant to Australia and perhaps even to visit with him and Manoly again. So, with my back still to him, and wanting to immediately reassure him, I also called out my reply.