Plays Written by P G Wodehouse
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Index to Plum Lines 1980–2020
INDEX TO PLUM LINES 1980–2020 Guide to the Index: While there are all sorts of rules and guidelines on the subject of indexing, virtually none can be applied to the formidable task of indexing Plum Lines (and its predecessor, Comments in Passing), the quarterly journal of The Wodehouse Society, which was founded in 1980. Too many variables confront the task’s indexer—not to mention a few too many errors in how issues were numbered over the years (see Index to the Index, below). Consequently, a new sort of index has been created in such a way (we hope) as to make it as easy as possible to use. Following are some guidelines. 1. Finding what you want: Whatever you are looking for, it should be possible to find it using our handy-dandy system of cross-referencing: • SUBJECTS are in BOLD CAPS followed by a list of the relevant articles. (See the list of Subject Headings, below.) • Authors and Contributors (note that some articles have both an author and a contributor) are listed in uppercase-lowercase bold, last name first, with a list of articles following the name. • Regular columns are simply listed in bold under their own titles rather than under a subject heading. 2. Locating the listed article: Any article listed in the index is followed by a series of numbers indicating its volume number, issue number, and page number. For example, one can find articles on Across the pale parabola: 14.2.17; 15.4.13 in Volume 14, Number 2, Page 17 and Volume 15, Number 4, Page 13. -
OPERA, COMIC OPERA, MUSICAL Box 4/1
Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo -
Autumn-Winter 2002
Beyond Anatole: Dining with Wodehouse b y D a n C o h en FTER stuffing myself to the eyeballs at Thanks eats and drinks so much that about twice a year he has to A giving and still facing several days of cold turkey go to one of the spas to get planed down. and turkey hash, I began to brood upon the subject Bertie himself is a big eater. He starts with tea in of food and eating as they appear in Plums stories and bed— no calories in that—but it is sometimes accom novels. panied by toast. Then there is breakfast, usually eggs and Like me, most of Wodehouse’s characters were bacon, with toast and marmalade. Then there is coffee. hearty eaters. So a good place to start an examination of With cream? We don’t know. There are some variations: food in Wodehouse is with the intriguing little article in he will take kippers, sausages, ham, or kidneys on toast the September issue of Wooster Sauce, the journal of the and mushrooms. UK Wodehouse Society, by James Clayton. The title asks Lunch is usually at the Drones. But it is invariably the question, “Why Isn’t Bertie Fat?” Bertie is consistent preceded by a cocktail or two. In Right Hoy Jeeves, he ly described as being slender, willowy or lissome. No describes having two dry martinis before lunch. I don’t hint of fat. know how many calories there are in a martini, but it’s Can it be heredity? We know nothing of Bertie’s par not a diet drink. -
Downloading the Available Texts from the Gutenberg Site
Lodz Papers in Pragmatics 4.2 (2008): 189-213 189 DOI 10.2478/v10016-008-0013-3 Alan Partington University of Bologna FROM WODEHOUSE TO THE WHITE HOUSE: A CORPUS-ASSISTED STUDY OF PLAY, FANTASY AND DRAMATIC INCONGRUITY IN COMIC WRITING AND LAUGHTER-TALK Abstract In this paper I consider two discourse types, one written and literary, the other spoken and semi-conversational, in an attempt to discover if there are any similarities in the ways in which humour is generated in such apparently diverse forms of communication. The first part of the paper is concerned with the explicitly comic prose of P.G.Wodehouse, whilst in the second part of the paper, we investigate the laughter-talk, defined as the talk preceding and provoking, intentionally or otherwise, an episode of laughter, occurring during press briefings held at the White House during the Clinton era and the subsequent Bush administration. Both studies, by employing corpus analysis techniques together with detailed discourse reading, integrate quantitative and qualitative approaches to the respective data sets. Keywords Humour, stylistics, Wodehouse, press briefings, Corpus-Assisted Discourse Studies. 1. The comic techniques in the prose of P.G. Wodehouse Despite being widely recognised as perhaps the greatest humorous novelist in the English language, and frequently also simply as a great creative genius (Hilaire Belloc called Wodehouse “the best living writer of English”), as Golab notes, “little evidence has been shown to justify this claim,” there is almost no literature “attempting to specify the reasons for Wodehouse’s success as a humorous writer” 190 Alan Partington From Wodehouse to the White House: A Corpus-Assisted Study of … (2004: 35). -
Aunts Aren't What?
The quarterly journal of The Wodehouse Society Volume 27 Number 3 Autumn 2006 Aunts Aren’t What? BY CHARLES GOULD ecently, cataloguing a collection of Wodehouse novels in translation, I was struck again by R the strangeness of the title Aunts Aren’t Gentlemen and by the sad history that seems to dog this title and its illustrators, who in my experience always include a cat. Wodehouse’s original title is derived from the dialogue between Jeeves and Bertie at the very end of the novel, in which Bertie’s idea that “the trouble with aunts as a class” is “that they are not gentlemen.” In context, this is very funny and certainly needs no explication. We are well accustomed to the “ungentlemanly” behavior of Aunt Agatha—autocratic, tyrannical, unreasoning, and unfair—though in this instance it’s the good and deserving Aunt Dahlia whose “moral code is lax.” But exalted to the level of a title and thus isolated, the statement A sensible Teutonic “aunts aren’t gentlemen” provokes some scrutiny. translation First, it involves a terrible pun—or at least homonymic wordplay—lost immediately on such lost American souls as pronounce “aunt” “ant” and “aren’t” “arunt.” That “aunt” and “aren’t” are homonyms is something of a stretch in English anyway, and to stretch it into a translation is hopeless. True, in “The Aunt and the Sluggard” (My Man Jeeves), Wodehouse wants us to pronounce “aunt” “ant” so that the title will remind us of the fable of the Ant and the Grasshopper; but “ants aren’t gentlemen” hasn’t a whisper of wit or euphony to recommend it to the ear. -
Wodehouse and the Baroque*1
Connotations Vol. 20.2-3 (2010/2011) Worcestershirewards: Wodehouse and the Baroque*1 LAWRENCE DUGAN I should define as baroque that style which deli- berately exhausts (or tries to exhaust) all its pos- sibilities and which borders on its own parody. (Jorge Luis Borges, The Universal History of Infamy 11) Unfortunately, however, if there was one thing circumstances weren’t, it was different from what they were, and there was no suspicion of a song on the lips. The more I thought of what lay before me at these bally Towers, the bowed- downer did the heart become. (P. G. Wodehouse, The Code of the Woosters 31) A good way to understand the achievement of P. G. Wodehouse is to look closely at the style in which he wrote his Jeeves and Wooster novels, which began in the 1920s, and to realise how different it is from that used in the dozens of other books he wrote, some of them as much admired as the famous master-and-servant stories. Indeed, those other novels and stories, including the Psmith books of the 1910s and the later Blandings Castle series, are useful in showing just how distinct a style it is. It is a unique, vernacular, contorted, slangy idiom which I have labeled baroque because it is in such sharp con- trast to the almost bland classical sentences of the other Wodehouse books. The Merriam Webster’s Collegiate Dictionary describes the ba- roque style as “marked generally by use of complex forms, bold or- *For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debdugan02023.htm>. -
GABRIEL Previews Begin Wednesday, February 20
CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: DANGER, INTRIGUE LURK AS GABRIEL WASHES ASHORE IN WEST COAST PREMIERE AT NORTH COAST REP An Award-Winning Drama By Moira Buffini Performances Beginning Wednesday, February 20, 2019 Running Through Sunday, March 17, 2019 Directed by Christopher Williams Solana Beach, CA – It is 1943 in the wind-swept Nazi-occupied Isle of Guernsey. A mysterious, handsome man washes ashore and four British women decide to protect him through cunning deceptions and bravery. His presence creates an electrical charge in the household that is already burdened by wartime loss and ever-present danger. A New York Times Critic’s Pick, this powerful tale brims with suspense and intrigue that will keep audiences on the edge of their seats. Christopher Williams directs Jessica John, Catalina Zelles, Lilli Passero*, Anabella Price*, Richard Baird,* and Alan Littlehales,* in GABRIEL. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting), Ryan Ford (Sound), Elisa Benzoni (Costumes), and Phillip Korth (Props). Andrea Gutierrez* is the stage manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. For background information and photos, go to www.northcoastrep.org/press. GABRIEL previews begin Wednesday, February 20. Opening Night on Saturday, February 23, at 8pm. There will be a special talkback on Friday, March 1, with the cast and artistic director. It will play Wednesdays at 7pm, Thursdays through Saturdays at 8pm, Saturday and Sunday matinees at 2pm with Sundays at 7pm through March 17, 2019 (See Schedule below). -
Ring for Jeeves: (Jeeves & Wooster) Free
FREE RING FOR JEEVES: (JEEVES & WOOSTER) PDF P. G. Wodehouse | 256 pages | 21 Dec 2011 | Cornerstone | 9780099513926 | English | London, United Kingdom Ring for Jeeves (Jeeves, #10) by P.G. Wodehouse One upside of returning to night shifts is that I have more time to read. In my first two nights I got through a Hamish Macbeth novel and then on the third and fourth I read this. It is the s and the aristocracy must adapt to a changing world. Ring for Jeeves: (Jeeves & Wooster) is off at a special school learning life skills should the worst happen and he be forced to let Jeeves go and fend for himself. Jeeves is temporarily on loan with the Earl of Rowcester, Bill. Bill owns a crumbling mansion that is far too expensive to maintain and too large for his needs. Engaged to be married Bill has become a bookie, in disguise, assisted by Jeeves. The scheme has worked well and kept him afloat. En route to view the house Rosalind Spottsworth meets an old friend of her late husband, Captain Biggar, who carries a torch for her. Biggar is in hot pursuit of an unscrupulous bookmaker who has done a runner. Bill is encouraged by his sister to use his charms to try and sell the place, but this causes some jealousy and suspicion Ring for Jeeves: (Jeeves & Wooster) his fiancee. Can Jeeves help his new employer navigate the challenges of selling a house, sweet talking an old Ring for Jeeves: (Jeeves & Wooster) and keeping his fiancee happy? Can they hide from Biggar or come up with some way to find the money needed to pay him back? The farcical aspects of the story are handled well, slowly piling up around poor Bill but never becoming too ridiculous. -
Analysis of Intertextuality in the Italian Translations of the Works of P.G
Recibido / Received: 26/06/2016 Aceptado / Accepted: 16/11/2016 Para enlazar con este artículo / To link to this article: http://dx.doi.org/10.6035/MonTI.2017.9.4 Para citar este artículo / To cite this article: VALENTINO, Gabriella. (2017) “Analysis of Intertextuality in the Italian Translations of the Works of P.G. Wodehouse (1881-1975) in the Light of the Epistemic Approach.” In: Martínez Sierra, Juan José & Patrick Zabalbeascoa Terran (eds.) 2017. The Translation of Humour / La traducción del humor. MonTI 9trans, pp. 1-24. ANALYSIS OF INTERTEXTUALITY IN THE ITALIAN TRANSLATIONS OF THE WORKS OF P.G. WODEHOUSE (1881-1975) IN THE LIGHT OF THE EPISTEMIC APPROACH Gabriella Valentino [email protected] Swansea University Abstract Research on Humour and Translation studies requires instruments capable to appre- ciate their complex nature. We present here the epistemic approach, a tool especially devised to analyse the translation of humour instances in written fictional text. This approach focuses on the role knowledge plays in creative production and in the process of translating, allowing both translators and researchers to recognize the functions of the stylistic devices employed to convey humour, and to guide and evaluate their rendering in translation. The stylistic device investigated in this study is intertextuality in the works of humourist writer P.G. Wodehouse (1881-1975). By means of a case study, its treatment in translation is analysed, comparing five translations of the same novel into Italian, published between 1931 and 1994. Keywords: P.G. Wodehouse. Epistemic approach. Intertextuality. Retranslation. Comic style. primera MonTI 9trans (2017: 1-24). -
The Cambridge Companion to the Musical Edited by William A
Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information The Cambridge Companion to the Musical Tracing the development of the musical both on Broadway and in London’s West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover the history of the genre from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception and traditions. All of the chapters from the first edition remain – several in updated forms – and five new chapters have been added, covering ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions. William A. Everett is Associate Professor of Musicology at the University of Missouri–Kansas City. Paul R. Laird is Professor of Musicology at the University of Kansas. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. Everett , Paul R. Laird Frontmatter More Information The Cambridge Companion to the MUSICAL ............ SECOND EDITION edited by William A. Everett and Paul R. Laird © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-68084-4 — The Cambridge Companion to the Musical Edited by William A. -
Urban Geology in London's Theatreland: St Martin's Lane to Shaftesbury Avenue R
Urban Geology in London No. 31 Urban Geology in London’s Theatreland: St Martin’s Lane to Shaftesbury Avenue Ruth Siddall This walk takes us along St Martins Lane and Shaftesbury Avenue to St Giles, near the intersection of Tottenham Court Road and Oxford Street. There are a fine selection of buildings in this area, serving London’s Theatreland; churches, restaurants and of course theatres are found amongst pubs, shops and gentlemen’s clubs. Those with interesting building stones are described below. Architectural notes are from Pevsner (Bradley & Pevsner, 2005; Cherry & Pevsner, 1998) unless otherwise cited. This walk begins at the church of St Martin’s-in-the-Fields at the north end of Trafalgar Square. The nearest tube station is Charing Cross, and a number of buses stop on the east side of Trafalgar Square, near to the church. St Martin-in-the-Fields The 18th Century church of St Martin-in-the-Fields dominates Trafalgar Square. A church of this name has stood on this site since the late 12th Century. However the current building (aBove) was Built Between 1721-6 By architect James GiBBs. At the time, the design was revolutionary, with the prominent, pedimented portico across the west front, and the steeple rising to a height of 58.5 m above the entrance to the church. The design was revolutionary and much copied in the UK, but also notably also in the USA. St Martin-in-the-Fields has recently (2008) undergone a major restoration, led by Eric Parry Architects with stone conservators Stonewest. The fruits of these laBours are mainly oBserved in the interior where Early Cretaceous Purbeck and Lower Jurassic Blue Lias Limestones have Been used for paving. -
Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays.