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1 Plays, Books
PLAYS, BOOKS - WRITTEN, PUBLISHED and PERFORMED; PRIZES. 1950s (Circa) And After Today – play written for amateur drama group ‘The Query Players’ to which A.W belonged. Never performed. Precursor to Chicken Soup with Barley. 1951 The Reed That Bent. A novel. Unpublished but used as the basis for ‘Chips With Everything’. Begun 30 April finished 17 August. The novel itself was drawn from assembled letters written to friends and family during 8 weeks of ‘square bashing’ as an RAF National Service conscript. 1955 Pools. A short story. Begun 16th October, finished following month. 1956 The Kitchen. No date on written MS. Probably begun in this year. Entered for The Observer Play competition in original form of two acts with no Interlude. No prizes. 1957 Life Is Where You Live. Musical written for Primrose Jewish Youth Club of which A.W. was the ‘drama director.’ Fiona Castiglione, the granddaughter of the composer, Rutland Boughton, wrote four or five songs then gave up! June 1957. Chicken Soup With Barley. First notes, circa early October 1957. The play (first entitled ‘When the Wind Blows’) begun 8 October 1957. 1958 Chicken Soup With Barley. First presented at The Belgrade Theatre, Coventry, 7 July for one week, directed by John Dexter. Subsequently at The Royal Court, London on14th July for one week as part of a four week ‘Guest Repertory Season’. Roots. Begun 20th June. 2nd typed draft completed 29 October. I’m Talking About Jerusalem. Begun 9 December. (1st typed draft dated 1st December 1959. 3rd typed draft dated 11th May 1960. Pools. Printed in The Jewish Quarterly, Winter 58/59. -
“Reciprocal Legitimation” Between Shakespeare's Works and Manga
Multicultural Shakespeare: Translation, Appropriation and Performance vol. 14 (29), 2016; DOI: 10.1515/mstap-2016-0019 ∗ Yukari Yoshihara Toward “Reciprocal Legitimation” between Shakespeare’s Works and Manga Abstract: In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film titled “Ophelia, not yet”. Ophelia, in this animation, survives, as she is a backstroke champion. This article will attempt to contextualize the complex negotiations, struggles and challenges between high culture and pop culture, between Western culture and Japanese culture, between authoritative cultural products and radicalized counterculture consumer products (such as animation), to argue that it would be more profitable to think of the relationships between highbrow/lowbrow, Western/non-Western, male versus female, heterosexual versus non-heterosexual, not simply in terms of dichotomies or domination/subordination, but in terms of reciprocal enrichment in a never-ending process of mutual metamorphoses. Keywords: Pop culture, Japan, gender, cultural hierarchy, manga, animation Introduction In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film (1 min. 30 seconds) titled Ophelia, not yet. The animation visually cites John Everett Millais’s painting of Ophelia (1852) with cheeky twists: in this animation, Ophelia looks like the Ophelia by Millais, but she does not die because she can swim, being a national backstroke champion.1 My garments were pulling me down deep under the water. Suddenly I remembered, I am a national backstroke champion, am I not? Soaked clothes spread wide were dragging me down, but Not yet, not yet, it is not time for a watery death . ∗ University of Tsukuba. -
PDF Download Dada and Surrealism for Beginners Kindle
DADA AND SURREALISM FOR BEGINNERS PDF, EPUB, EBOOK Peter Bethanis | 128 pages | 11 Oct 2007 | For Beginners | 9781934389003 | English | United States Dada and Surrealism for Beginners PDF Book An English-language version of the first book was published in by Leviathan Press of San Francisco and Pathfinder Press of New York, to no particularly great impact. Even though Atget had been experimenting with photos of shop windows for a decade, his work would come to prominence in the s. The For Beginners series has its origins in two Spanish-language books, Cuba para principiantes and Marx para principiantes by the Mexican political cartoonist and writer Rius , pocket books which put their content over in a humorous comic book way but with a serious underlying purpose. This book is telling you about Dada. She and Raoul Hausmann were among the first artists to work in photomontage. Categories : Educational comics Historical comics Non-fiction comics Book publishing companies based in Connecticut Comic book publishing companies of the United States Publishing companies established in In the early s questions of control arose after some members of the cooperative sold U. Social Psychology introduces the key concepts of the field through an acclaimed storytelling approach that makes research relevant to students. Ball preferred to use "sound poems" to be performed by Dada stage artists. At times, critics like to pigeonhole certain artists as part of one movement or another. This gives context to later understand those voices. Surrealism and Psychoanalysis The Surrealists were interested in the unconscious as a creative source. Each of the beautiful piles of realistic sushi looking high quality page sticky notepads, sits on its own handmade sushi cardboard table included. -
Curriculum Vitae Chila Kumari Burman
! ! Curriculum Vitae Chila Kumari Burman Brought up in Liverpool and educated at the Slade School of Art in London, Chila Kumari Burman has worked experimentally across printmaking, painting, sculpture, photography and film since the mid-1980s. She draws on fine and pop art imagery in intricate multi- layered works which explore Asian femininity and her personal family history, and where Bollywood bling merges with childhood memories. The Bindi Girls are a series of female figures composed almost entirely of colourful and glittery bindis, gems and crystals. Meticulously handcrafted and embellished, they suggest a powerful yet playful femininity. From bindis and other fashion accessories to ice cream cones and ice lolly wrappers, Chila often uses everyday materials in her work, giving new meaning to items which others may see as worthless, cheap or kitsch. Ice Cream has a particular significance in her work and references her childhood in Liverpool where her father, who arrived as an immigrant from India in the 1950s, owned an ice cream van and was a popular figure as he drove around selling ice cream for over thirty years. As well as paying homage to her father, her Ice Cream works evoke the awakening of her own creative spirit when as a child she would help out in the ice cream van and became immersed in a world of colour, flavour and materials. Chila Kumari Burman’s work is held in a number of public and private collections including the Victoria and Albert Museum and the Wellcome Trust in London, and the Devi Foundation in New Delhi. -
Shakespeare and Contemporary Adaptation: the Graphic Novel
SHAKESPEARE AND CONTEMPORARY ADAPTATION: THE GRAPHIC NOVEL By MARGARET MARY ROPER A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy with Integrated Studies The Shakespeare Institute College of Arts and Law The University of Birmingham December 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the process of adaptation of Shakespeare’s plays into the graphic novel medium. It traces the history of these adaptations from the first comic books produced in the mid-twentieth century to graphic novels produced in the twenty-first century. The editions used for examination have been selected as they are indicative of key developments in the history of adaptation of Shakespeare’s plays into the medium. This thesis explores how the plays are presented and the influences on the styles of presentation. It traces the history of the form and how the adaptations have been received in various periods. It also examines how the combination of illustrations and text and the conventions of the medium produce unique narrative capacities, how these have developed over time and how they used to present the plays. -
Catalog (Author-Sort)
Page 1 6/6/2012 11:00:46 AM Catalog (Author-sort) Publication Author Title Publisher Category Book ID Year Africa: Geography, History, 2005 Prentice Hall Miscellaneous 12.109/1 Culture Africa: Geography, History, 2005 Prentice Hall Miscellaneous 12.109/2 Culture Africa: Geography, History, 2005 Prentice Hall Miscellaneous 12.112 Culture Contemporary Indian 1993 ABS Publications Anthology 2.7.106 English Fiction Criticism & D. H. Lawrence 1964 Critical 2.5.725 Appreciation Criticism & Dimensions, Essays for 1980 Winthrop Publishers Critical 2.5.719 Composition Appreciation Discourse: Concepts in the Theory 2.6.38 Social Sciences Education 02/03 2001 McgrawHill College Social Sciences 11.227 (Education, 20022003) English in the World: Cambridge University Applied Teaching And Learning the 1985 3.4.54/2 Press Linguistics & ELT Language And Literatures English in the World: Cambridge University Applied Teaching And Learning the 1985 3.4.54/1 Press Linguistics & ELT Language And Literatures Essential Russian_English Progress Publishers Dictionary 10.92/2 Dictionary Essential Russian_English Progress Publishers Dictionary 10.92/1 Dictionary Contemprary Learning Film : Annual Editions 2007 Journal 8.22 Series Political Parties The Future of American 1982 PrenticeHall Congresses. 11.169 political parties United States McGrawHill Geography: The World and 2000 Humanities/Social Miscellaneous 12.124/1 Its People Sciences/Languages McGrawHill Geography: The World and 2000 Humanities/Social Miscellaneous 12.124/2 Its People Sciences/Languages McGrawHill Geography: The World and 2000 Humanities/Social Miscellaneous 12.124/3 Its People Sciences/Languages Good News for Modern 1971 American Bible Society Social Sciences 11.145 Man Good News: Bible 1976 United Bible Societies Social Sciences 11.146 Criticism & Guide to English Literature Critical 2.5.760 Appreciation Handbook to Longman 1968 Longman Language Skills 1.2.185/2 Sturctural Readers Printed 6/6/2012 Page 2 Handbook to Longman 1968 Longman Language Skills 1.2.185/1 Sturctural Readers The Heath Introduction To 1975 D. -
Postculture. Nor Does My Postulate Spell the ‘End’ of Culture
POSTCULTURE Richard Appignanesi The Indian-American sociologist, Arjun Appadurai, argues that we should consider ‘the human preoccupations that shape the future as a cultural fact’. By conceiving the future as specific cultural form, ‘we will be better able to place within this scheme more particular ideas about prophecy, well-being, emergency, crisis, and regulations’. This begs the question: what is culture? Do not trust anyone who speaks of culture without first defining it. Pronouncements on culture seldom if ever survive the test of this golden rule. The reason is apparent. Any attempt to define culture at once founders on the reefs of eclectic plurality. Culture is not reserved only for ethnographic designation. There is a pop culture, another of high culture, a New Age culture, a culinary culture, a culture of violence, a culture of rogue bankers, and so forth into endless particularist multitude. It demonstrates taxonomy chiefly by the rival incompatible differences within itself. The word culture attaches itself promiscuously to every sort of manifestation. We might pointlessly object to many of these usages of culture as being superficial, misapplied or invalid. It might indeed be true but fruitless to say that culture has entirely succumbed to nominalism. We will yet have to satisfy the golden rule of trustworthy definition. Where in all this termitary of cultures is the culture which can bear universal sense? Is there some unacknowledged template of culture which answers universally to all its unruly factions? It would seem there is none. How can there be a single definition of culture when it disintegrates even at micro-level? Nor are we better served at the macro-level. -
Wissen Im Sachcomic (Im Tibiapress Verlag)
Medienimpulse ISSN 2307-3187 Jg. 51, Nr. 4, 2013 Lizenz: CC-BY-NC-ND-3.0-AT Wissen im Sachcomic (im TibiaPress Verlag) Eva Horvatic "Wer nichts weiß, muss alles glauben.“[1] Diesen Aphorismus der österreichischen Schriftstellerin Marie von Ebner- Eschenbach hat der TibiaPress Verlag für seine erfolgreiche Reihe INFOcomics als Motto gewählt. Seit 2010 bringt der Verlag Sachcomics aus der britischen "Introducing …"-Reihe als deutschsprachige Ausgaben heraus. Dass eine Einführung in verschiedene wissenschaftliche Disziplinen (wie etwa Physik, Philosophie, Psychologie, Soziologie, Kulturwissenschaften und Ökonomie) und deren unterschiedliche Themengebiete (wie Relativitätstheorie, Quantenphysik, Logik, Ethik, Kapitalismus und Marxismus) leicht verständlich und lebendig sein kann, oder Gedanken und Werke bedeutender SchriftstellerInnen und DenkerInnen (wie William Shakespeare und Slavoj Žižek) leicht nachvollziehbar näherbringen kann, ohne dabei an Seriosität einzubüßen, beweist das Format der Sachcomics. Sachcomics bilden eine hervorragende Einführung in ein wissenschaftliches Fachgebiet und seine Fragestellungen, und geben einen profunden Überblick. Es sind Werke, deren Inhalte nicht einfach bloß durch Bilder aufgelockert sind, sondern in denen namhafte Künstler mittels ihrer Zeichnungen eine eigenständige medienimpulse, Jg. 51, Nr. 4, 2013 1 provided by Universität Wien: OJS-Service View metadata, citation and similar papers at core.ac.uk CORE brought to you by Horvatic Wissen im Sachcomic (im TibiaPress Verlag) inhaltliche Ebene schaffen, die "Perspektivenwechsel, Kommentare, erste Diskussionen und Distanzierung“[2] ermöglicht. Hierdurch eröffnen sie einen raschen, jedoch seriösen Einblick auch in schwierige Themengebiete, die Zeichnungen fungieren hierbei als eigenständige inhaltliche Ebene, die das Verständnis fördert. Sachcomic-Reihen entwickelten sich im englischsprachigen Raum, aus den beiden spanischen Büchern Cuba para principiantes (1960) und Marx para principiantes (1972) des aus Mexiko stammenden politischen Cartoonisten und Schriftstellers Rius. -
The Lessons Ofcommunismand
IDEOLOGIES OF RACE?: THE LESSONS OF COMMUNISM AND EXISTENTIALISM IN THE LITERATURE OF WCHARD WRIGHT by REGAN TYNDALL BA., The University of Calgary, 1997 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept this thesis as confomiing to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 2004 © Regan Tyndall, 2004 Library Authorization In presenting this thesis in partial fulfillment 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 or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Regan Tyndall 23/04/2004 Name of Author (please print) Date (dd/mm/yyyy) Title of Thesis: Ideologies of Race?: The Lessons of Communism and Existentialism in the Literature of Richard Wright Degree: Master of Arts Year: 2004 Department of English The University of British Columbia Vancouver, BC Canada Abstract Marxism and Existentialism are the two major ideologies that inform Richard Wright's work in the period framed by two novels, Native Son (1940) and The Outsider (1953). The purpose of this thesis is (a) to briefly illuminate the history and circumstances of both black Marxism -
What Is Existentialism? a Revision of Contemporary Definitions
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/303959886 What Is Existentialism? A Revision of Contemporary Definitions Article · January 2014 CITATION READS 1 10,834 1 author: Ștefan Bolea Babeş-Bolyai University 30 PUBLICATIONS 8 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Nihilism in Poetry, Film and Metal Music View project Death within the Text: Social, Philosophical and Aesthetic Approaches to Literature View project All content following this page was uploaded by Ștefan Bolea on 27 January 2018. The user has requested enhancement of the downloaded file. STUDIA UBB. PHILOSOPHIA, Vol. 59 (2014), No. 2, pp. 63-72 (RECOMMENDED CITATION) WHAT IS EXISTENTIALISM? A REVISION OF CONTEMPORARY DEFINITIONS ŞTEFAN BOLEA1 ABSTRACT. In the following paper we provide a personal definition of the existential philosophy and the existential subject. Before that we explore other historical definitions of existentialism. We were mainly interested in the relation between existentialism and nihilism, the focus of existential philosophy on the individual and the situation of the studied philosophical trend on the 1950's zeitgeist. The definition of existentialism as a form of trans-rationalism and its capacity to become a practical alternative to contemporary academic philosophy were also emphasized. Keywords: existentialism, nihilism, postmodernism, practical philosophy, literature, individualism, irrationalism, trans-rationalism, death, anxiety Introduction We would like to take into consideration some of the most important definitions of existentialism (before providing a personal definition, which analyzes the relations between the studied philosophical trend, nihilism and postmodernism) in order to understand its position in the history of philosophy. -
Leseprobecrumb.Pdf
KAFKA David Zane Mairowitz and Robert Crumb Edited by Richard Appignanesi !"#$"%&"'()*+ ,--.+ !"#$$%",&#!'()*$+) Fantagraphics Books 7563 Lake City Way ne Seattle, Washington 98115 Published by Gary Groth and Kim Thompson Cover Design by Jacob Covey Interior Production by Greg Sadowski Originating Editor: Richard Appignanesi Promotion by Eric Reynolds Production assistance by Paul Baresh Typeset in Akira Kobayashi’s Clifford Text copyright © 2007 David Zane Mairowitz; illustrations copyright © 2007 Robert Crumb. All rights reserved. Permission to reproduce material must be obtained from the author or publisher. To receive a free full-color catalog of comics, graphic novels, prose novels, and other fine works of artistry, call 1-800-657-1100, or visit www.fantagraphics.com. You may order books at our website or by phone. Distributed in the U.S. by W.W. Norton and Company, Inc. (212-354-500) Distributed in Canada by Raincoast Books (800-663-5714) Distributed in the United Kingdom by Turnaround Distribution (108-829-3009) isbn: 978-1-56097-806-0 First Fantagraphics printing: May 2007 printed in china Throughout most of his life, Franz Kafka imagined his own extinction by dozens of carefully elaborated methods. Those set down in his diaries, amongst mundane complaints of constipation or migraine, are often the most striking: 4 Kafka managed to turn this sometimes deliciously-evoked internal terror inside-out — with himself torn and mutilated at its center — as storytelling. He had no discernible world view to share in his work, no guiding philosophy, only dazzling tales to deliver out of an extraordinarily acute subconscious. At best, an identifiable mood pervades his work, mysterious and difficult to pinpoint. -
Shakespeare and Contemporary Adaptation: the Graphic Novel
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository SHAKESPEARE AND CONTEMPORARY ADAPTATION: THE GRAPHIC NOVEL By MARGARET MARY ROPER A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy with Integrated Studies The Shakespeare Institute College of Arts and Law The University of Birmingham December 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the process of adaptation of Shakespeare’s plays into the graphic novel medium. It traces the history of these adaptations from the first comic books produced in the mid-twentieth century to graphic novels produced in the twenty-first century. The editions used for examination have been selected as they are indicative of key developments in the history of adaptation of Shakespeare’s plays into the medium. This thesis explores how the plays are presented and the influences on the styles of presentation. It traces the history of the form and how the adaptations have been received in various periods.