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MISALLIANCE : Know-The-Show Guide
The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide Misalliance by George Bernard Shaw Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide In This Guide – MISALLIANCE: From the Director ............................................................................................. 2 – About George Bernard Shaw ..................................................................................................... 3 – MISALLIANCE: A Short Synopsis ............................................................................................... 4 – What is a Shavian Play? ............................................................................................................ 5 – Who’s Who in MISALLIANCE? .................................................................................................. 6 – Shaw on — .............................................................................................................................. 7 – Commentary and Criticism ....................................................................................................... 8 – In This Production .................................................................................................................... 9 – Explore Online ...................................................................................................................... 10 – Shaw: Selected -
THE RED RECORD: TABULATED STATISTICS and ALLEGED CAUSES of LYNCHING in the UNITED STATES (1895) by Ida B
THE RED RECORD: TABULATED STATISTICS AND ALLEGED CAUSES OF LYNCHING IN THE UNITED STATES (1895) By Ida B. Wells-Barnett PREFACE HON. FREDERICK DOUGLASS’S LETTER: DEAR MISS WELLS: Let me give you thanks for your faithful paper on the lynch abomination now generally practiced against colored people in the South. There has been no word equal to it in convincing power. I have spoken, but my word is feeble in comparison. You give us what you know and testify from actual knowledge. You have dealt with the facts with cool, painstaking fidelity, and left those naked and uncontradicted facts to speak for themselves. Brave woman! you have done your people and mine a service which can neither be weighed nor measured. If the American conscience were only half alive, if the American church and clergy were only half Christianized, if American moral sensibility were not hardened by persistent infliction of outrage and crime against colored people, a scream of horror, shame, and indignation would rise to Heaven wherever your pamphlet shall be read. But alas! even crime has power to reproduce itself and create conditions favorable to its own existence. It sometimes seems we are deserted by earth and Heaven--yet we must still think, speak and work, and trust in the power of a merciful God for final deliverance. Very truly and gratefully yours, FREDERICK DOUGLASS Cedar Hill, Anacostia, D.C. CONTENTS CHAPTER 1 The Case Stated 57 CHAPTER 2 Lynch-Law Statistics 65 CHAPTER 3 Lynching Imbeciles 73 CHAPTER 4 Lynching of Innocent Men 84 CHAPTER 5 Lynched for Anything -
Trustee Report and Financial Statements 2011/12
Trustee Report and Financial Statements 2011/12 Company number 5042279 Paul Hamlyn Foundation Trustee Report and Financial Statements 2011/12 1 Contents Paul Hamlyn Foundation 2 Chair’s statement 4 Director’s report 6 Arts programme 8 Education and Learning programme 13 Social Justice programme 20 India programme 25 Other grants 26 Evaluation report 28 Reference and administrative details and audit report 31 List of grants awarded in 2011/12 36 Financial review 53 Statement of Financial Activities, Balance Sheet and Cashflow Statement 57 Notes to the financial statements 60 Trustees, staff and advisors 70 2 Paul Hamlyn Foundation Trustee Report and Financial Statements 2011/12 Paul Hamlyn Foundation Paul Hamlyn was an entrepreneur, publisher and philanthropist, committed to providing new opportunities and experiences for people regardless of their background. From the outset, his overriding concern was to open up the arts and education to everyone, but particularly to young people. In 1987, he established the Paul Hamlyn Foundation for general charitable purposes. Since then, we have continuously supported charitable activity in the areas of the arts, education and learning and social justice in the UK, enabling individuals, especially children and young people, to experience a better quality of life. We also support local charities in India that help the poorest communities in that country gain access to basic services. Paul Hamlyn died in August 2001, but the magnificent bequest of most of his estate to the Foundation enabled us to build on our past approaches. Mission To maximise opportunities for individuals and communities to realise their potential and to experience and enjoy a better quality of life, now and in the future. -
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CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts. -
Linear Film 114 - Online Space 118
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details !1 THIS IS NOT US: Performance, Relationships and Shame in Documentary Filmmaking Daisy Asquith PhD CREATIVE & CRITICAL PRACTICE University of Sussex, June 2018 WORD COUNT: 40,072 PRACTICE ONLINE: https://daisy-asquith-xdrf.squarespace.com/home/ !2 Summary This thesis investigates performance, identity, representation and shame in documentary flmmaking. Identities that are performed and mediated through a relationship between flmmaker and participant are examined with detailed reference to two decades of my own practice. A refexive, feminist approach engages my own flms - and the relationships that produced them - in analysis of the ethical potholes and emotional challenges in representing others on TV. The trigger for this research was the furiously angry reaction of the One Direction fandom to my representation of them in Crazy About One Direction (Channel 4, 2013). This offered an opportunity to investigate the potential for shame in documentary; a loud and clear case study of flmed participants using social media to contest their image on screen. -
Adventures In
BULLETIN Fall 2009 adventurEs in sCIENCE Ingree’sPort IncludesYear end P re board of trustees 2008–09 Jane Blake Riley ’77, p ’05 President contents James D. Smeallie p ’05, ’09 V ice President Keith C. Shaughnessy p ’04, ’08, ’10 T reasurer Philip G. Lake ’85 4 Pingree Secretary athletes Thanks Anthony G.L. Blackman p ’10 receive Interim Head of School All-American Nina Sacharuk Anderson ’77, p ’09 ’11 honors for stepping up to the plate. Kirk C. Bishop p ’06, ’06, ’08 Tamie Thompson Burke ’76, p ’09 Patricia Castraberti p ’08 7 Malcolm Coates p ’01 Honoring Therese Melden p ’09, ’11 Reflections: Science Teacher Even in our staggering economy, Theodore E. Ober p ’12 from Head of School Eva Sacharuk 16 Oliver Parker p ’06, ’08, ’12 Dr. Timothy M. Johnson Jagruti R. Patel ’84 you helped the 2008–2009 Pingree William L. Pingree p ’04, ’08 3 Mary Puma p ’05, ’07, ’10 annual Fund hit a home run. Leslie Reichert p ’02, ’07 Patrick T. Ryan p ’12 William K. Ryan ’96 Binkley C. Shorts p ’95, ’00 • $632,000 raised Joyce W. Swagerty • 100% Faculty and staff participation Richard D. Tadler p ’09 William J. Whelan, Jr. p ’07, ’11 • 100% Board of trustees participation Sandra Williamson p ’08, ’09, ’10 Brucie B. Wright Guess Who! • 100% class of 2009 participation Pictures from Amy McGowan p ’07, ’10 the archives 26 • 100% alumni leadership Board participation Parents Association President William K. Ryan ’96 • 15% more donations than 2007–2008 A Lumni L eadership Board President Cover Story: • 251 new Pingree donors board of overseers Adventures in Science Alice Blodgett p ’78, ’81, ’82 Susan B. -
Lu Xun and Australia
LU XUN AND AUSTRALIA Edited by MABEL LEE, CHIU-YEE CHEUNG & SUE WILES AUSTRALIAN SCHOLARLY Tis publication has been supported by the China Studies Centre of Te University of Sydney © 2016 Australian Scholarly Publishing Copyright of the original text of individual chapters is retained by their authors. First published 2016 by Australian Scholarly Publishing Pty Ltd 7 Lt Lothian St Nth, North Melbourne, Victoria 3051 tel 03 9329 6963 / fax 03 9329 5452 [email protected] / www.scholarly.info ISBN: 978-1-925588-01-9 ALL RIGHTS RESERVED Cover design Wayne Saunders 14 Lu Xun Travels around the World: From Beijing, Oslo and Sydney to Cambridge, Mass.1 Bonnie S. McDougall Lu Xun did not travel outside China except during his student days when he lived for seven years in Japan. His knowledge of Japanese and German nevertheless enabled him to embrace the literary cultures of the West and Japan, both in their contemporary and older traditions: his outlook was cosmopolitan. In translating his essays (more so than his fction) the translator can trace his intellectual journeys across the world. In this short essay I have attempted to demonstrate one episode of such travels, showing how, even beyond Lu Xun’s own knowing, his translator must perform their own trajectories. One of Lu Xun’s most famous essays is ‘What Happens afer Nora Walks Out’, based on a talk given to the Literature and Arts Society at Beijing Women’s Normal College, 26 December 1923. If the young female audience addressed by Lu Xun had ambitions to make their own careers, they faced barriers that may well have seemed insurmountable: apart from teaching, what was open to them to be independent and earn their livelihood? For one student in the audience contemplating a future as a teacher, the talk inspired deep respect for the author. -
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ACKNOWLEDGEMENTS This research has been a lengthy and complex process. We have always stated publicly that this work was for the dance field and it has been carried out in collaboration with the field. We have had support from so many people throughout the process and without this we could not have completed the work. Firstly, we would like to thank Janet Archer, Theresa Beattie, Ellie Hartwell and Tania Wilmer in the dance strategy department of Arts Council England. Without their support this work would not have been possible. Tania Wilmer carried out many of the interviews for the illustrations that pepper the report and we are immensely grateful to her for her rigour and hard work. We are also grateful to those who agreed to be interviewed and gave so generously of their time. There were many Arts Council staff who sourced and contributed data but Jonathan Treadway, Amanda Rigali, Delia Barker and Rebecca Dawson deserve special mention. Regional dance officers provided valuable local data and information and their input through the Dance Practice Group meetings was always valuable. Terry Adams and Claire Cowles (the ‘Survey Monkey’ queen) provided invaluable research backup to us throughout the process and their rigour is evident in the survey data as well as in the analysis of the Arts Council England data. The Steering Group (listed in Appendix One) supported the process, guided us wisely and challenged us when necessary. Their support for the consultation events was also greatly valued. The strategic agencies provided ongoing access to data, Foundation for Community Dance (FCD) staff carried out an analysis of jobs advertised and Sean Williams and his team at Council for Dance Education and Training (CDET) carried out research on the private sector for us that has helped to create a better picture of this sector. -
Mrs. Patrick Campbell, Caesar in Ccarsnr Or~Rlclcopatrn for Forbes Robertson, and Lady Cicely in Captain Brassbot~~Rd'j Cor~~,Crsiorlfor Ellen Terry
This document is from the Cornell University Library's Division of Rare and Manuscript Collections located in the Carl A. Kroch Library. If you have questions regarding this document or the information it contains, contact us at the phone number or e-mail listed below. Our website also contains research information and answers to frequently asked questions. http://rmc.library.cornell.edu Division of Rare and Manuscript Collections 2B Carl A. Kroch Library Cornell University, Ithaca, NY 14853 Phone: (607) 255-3530 Fax: (607) 255-9524 E-mail: [email protected] This publication has been prepared with the generous support of the Arnold '44 and Gloria Tofias Fund and the Bernard E Burgunder Fund for George Bernard Shaw. + Issued on the Occasion of "77re Instinct of an Artist:" Straw and the Theatre. An Exhibition from the Bernard F. Hurgunder Collection of George Bernard Shaur, Division of Rare and Manuscript Collections Carl A. Kroch Library April 17-June 13,1997 Cover and lnsidc Cover Illustrations: Shown are Shaw's photographic postcards sent to actress Evlarparet Halstan, critiquin~her performance as Raina in Arnold Dnly's ign revival of Annr and the )Man. [Item iA] Title page illustration by Antnny Wysard Note: Shaw ohcn spelled words phonetically, and sometimes used archaic forms of words. In quoting Shaw, we have retained his unusual spelling throughout O 1997 Cornell University Library The Instinct of an Artist + he Bernard F. Burgunder Collection of George Bernard Shaw was established at Cornell University in 1956, the centennial of Shaw's birth. The Collection repre- T sents a lifelong enthusiasm of the donor, Bernard Rurgundcr, who began collect- ing Shaviana soon after his graduation from Cornell in 1918. -
Introduction
01_INTRO 7/26/04 9:54 AM Page 1 Introduction There is no simon-pure thing —Countee Cullen This book studies the many literary and journalistic representations of Britain’s first indigenous and fully capitalized mass culture form, the music hall.1 The London music hall reached its commercial zenith roughly between and .A miscellaneous revue of art and amusements, a night of music hall could feature song, dance, comic routine, acrobats, and animal acts. As the music hall grew from roots in local, raucous pub sing-alongs into a large-scale capi- talized venture, it welcomed more styles of entertainment, as well as a large paying segment of the nation itself.2 The London music hall provides the central focus of my book, since the many descriptions of these halls by the London intelligentsia serve as the core texts for 01_INTRO 7/26/04 9:54 AM Page 2 Introduction this study.3 My work addresses the discourse produced by the metropolitan intelligentsia at the moment when the music hall reached its commercial peak. I argue that this discourse provides a pioneering example of a now fa- miliar story about the inevitable loss of cultural possibilities. Late-Victorian literary intellectuals like Max Beerbohm and Elizabeth Robins Pennell framed a narrative of cultural rise and decline using their experience of the music hall. As they understood it, culture forms emerge with an appealing vigor, vitality, and charisma. Popular entertainment stands in some honest, responsive, and authentic relation to its patrons. Inevitably, the bloom leaves the rose; entertainment becomes commercialized, co-opted, appropriated, and vitiated. -
Memorials of Families of the Surname of Archer
/ National Library of Scotland *B0001 45723* Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/memorialsoffamil1861arch MEMORIALS FAMILIES SURNAME OF ARCHER LONDON: JOHN RUSSELL SMITH, 36, SOHO SQUARE. MvMMM.DCCC.LXI. DEDICATED BY PERMISSION TO THE BIGHT HONOURABLE GEORGE, EAEL BROOKE AND EARL OF WARWICK, K.T., ETC. \<03S f . — Cjje Surname %%t\tx. INTRODUCTION. The notices of any particular surname, scattered throughout the records of past centuries, although unassociated with any prominent historical events, and seldom occurring, save in the pages of the County historian, may yet acquire, by their union in a collective form, a certain amount of interest, as illustrating the fortunes of a member of the common family. The Anglo-Norman Surname Archer, was not uncommon in the seventeenth century. Several families of local distinction, bore it in various parts of England, and amongst them, the principal was that of Umberslade, in Warwickshire, a family much more widely spread, than might be supposed, and the only one, of any note, which, unlike those of Coopersale, Lizard, Stoke-Archer. and Dover, is certainly, not extinct, although in the person of Andrew, second and last Lord Archer, the senior male line expired, in the year 1778. 1 The following are " arms " assigned to various families of the name : 1 Archer, Cornwall — sable, a chevron between 3 broad arrows argent (the Lizard). 2. Archer, Trelaske, Cornwall—sab. a chev. engr. betw. 3 pheons or. 3. Archer, Essex—azure, a garb erect or betw. 2 laurel 'branches, tied by a ribbon in base on a chief emb. -
A Doll's House Conquered Europe
Article “A Doll’s House Conquered Europe”: Ibsen, His English Parodists, and the Debate over World Drama Mary Christian Department of English, Middle Georgia State University, 1100 SE 2nd St. Cochran, Macon, GA 31014, USA; [email protected] Received: 14 March 2019; Accepted: 18 April 2019; Published: 22 April 2019 Abstract: The London premieres of Henrik Ibsen’s plays in the late 1880s and 1890s sparked strong reactions both of admiration and disgust. This controversy, I suggest, was largely focused on national identity and artistic cosmopolitanism. While Ibsen’s English supporters viewed him as a leader of a new international theatrical movement, detractors dismissed him as an obscure writer from a primitive, marginal nation. This essay examines the ways in which these competing assessments were reflected in the English adaptations, parodies, and sequels of Ibsen’s plays that were written and published during the final decades of the nineteenth century, texts by Henry Herman and Henry Arthur Jones, Walter Besant, Bernard Shaw, Eleanor Marx and Israel Zangwill, and F. Anstey (Thomas Anstey Guthrie). These rewritings tended to respond to Ibsen’s foreignness in one of three ways: Either to assimilate the plays’ settings, characters, and values into normative Englishness; to exaggerate their exoticism (generally in combination with a suggestion of moral danger); or to keep their Norwegian settings and depict those settings (along with characters and ideas) as ordinary and familiar. Through their varying responses to Ibsen’s Norwegian origin, I suggest, these adaptations offered a uniquely practical and concrete medium for articulating ideas about the ways in which art shapes both national identity and the international community.