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Rawson Duo Concert Series, 2013-14
What’s Next? Rawson Duo Concert Series, 2013-14 March 7 & 9 Under Construction ~ we haven’t decided on a program yet, but we’ve set aside Friday and Sunday, March 7 & 9 for the dates. A Russian sequel is under consideration with “maxi-atures,” in contrast to today’s miniatures, by Nicolai Medtner, Sergei Rachmaninoff, and Sergei Prokofiev — but one never knows. Stay tuned, details coming soon. Beyond that? . as the fancy strikes (check those emails and website) Reservations: Seating is limited and arranged through advanced paid reservation, $25 (unless otherwise noted). Contact Alan or Sandy Rawson, email [email protected] or call 379- 3449. Notice of event details, dates and times when scheduled will be sent via email or ground mail upon request. Be sure to be on the Rawsons’ mailing list. For more information, visit: www.rawsonduo.com H A N G I N G O U T A T T H E R A W S O N S (take a look around) Harold Nelson has had a lifelong passion for art, particularly photo images and collage. It sustained him through years of working in the federal bureaucracy with his last sixteen in Washington DC. He started using his current collage technique in 2004, two years before retirement from his first career and his move from Virginia to Port Townsend. His art is shown frequently at the Northwind Arts Center and other local venues. www.hnelsonart.com Zee View of the Month ~ photography by Allan Bruce Zee "Cadillactica," (detail of a rusting 1946 Cadillac, Vashon Island, Washington 2001) from “Rustscapes,” a group of abstract, close-up photographs of “maturing” vehicles; rust patterns, peeling and sanded paint, and the reflection of light off of beat up cars and trucks. -
Once Upon a Time There Was a Puss in Boots: Hanna Januszewska’S Polish Translation and Adaptation of Charles Perrault’S Fairy Tales
Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 33–55 doi:10.4467/16891864ePC.13.002.0856 Monika Woźniak ONCE UPON A TIME THERE WAS A PUSS IN BOOTS: Hanna Januszewska’s POLISH TRANSLATION AND ADAPTATION OF CHARLES Perrault’s FAIRY TALES Abstract: This article opens with an overview of the Polish reception of fairy tales, Perrault’s in particular, since 1700. The introductory section investigates the long- established preference for adaptation rather than translation of this genre in Poland and provides the framework for an in-depth comparative analysis of the first Polish translation of Mother Goose Tales by Hanna Januszewska, published in 1961, as well as her adaptation of Perrault’s tales ten years later. The examination focuses on two questions: first, the cultural distance between the original French text and Polish fairy- tales, which causes objective translation difficulties; second, the cultural, stylistic and linguistic shifts introduced by Januszewska in the process of transforming her earlier translation into a free adaptation of Perrault’s work. These questions lead not only to comparing the originality or literary value of Januszewska’s two proposals, but also to examining the reasons for the enormous popularity of the adapted version. The faithful translation, by all means a good text in itself, did not gain wide recognition and, if not exactly a failure, it was nevertheless an unsuccessful attempt to introduce Polish readers to the original spirit of Mother Goose Tales. Keywords: translation, adaptation, fairy tale, Perrault, Januszewska The suggestion that Charles Perrault and his fairy tales are unknown in Poland may at first seem absurd, since it would be rather difficult to im- agine anyone who has not heard of Cinderella, Puss in Boots or Sleeping Beauty. -
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•i CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1 83 1 BY HENRY WILLIAMS SAGE Cornell University Library Z1023 .C89 Of the decorative illustration of books 3 1924 029 555 426 olin Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029555426 THE EX-LIBRIS SERIES. Edited by Gleeson White. THE DECORATIVE ILLUSTRATION OF BOOKS. BY WALTER CRANE. *ancf& SOJfS THE DECORATIVE OFILLUSTRATION OF BOOKS OLD AND NEW BY WALTER CRANE ^ LONDON: GEORGE BELL AND SONS YORK STREET, COVENT GARDEN, W.C. NEW YORK: 66 FIFTH AVENUE MDCCCXCVI 5 PRINTED AT THE CHISWICK PRESS BY CHARLES WHITTINGHAM & CO. TOOKS COURT, CHANCERY LANE, LONDON, E.C. PREFACE. HIS book had its origin in the course of three (Cantor) Lectures given before the Society of Arts in 1889; they have been amplified and added to, and further chapters have been written, treating of the very active period in printing and decorative book- illustration we have seen since that time, as well as some remarks and suggestions touching the general principles and conditions governing the design of book pages and ornaments. It is not nearly so complete or comprehensive as I could have wished, but there are natural limits to the bulk of a volume in the " Ex-Libris" series, and it has been only possible to carry on such a work in the intervals snatched from the absorbing work of designing. -
Scholastic ELT CAT2013 FINAL .Indd
NEW BRANDSERIES English Language Teaching Catalogue Popcorn ELT Readers Scholastic ELT Readers Timesaver Resource Books DVD Readers 2013/14 222100021000 UUKK SScholasticcholastic EELTLT CCAT2013_AT2013_ ccover_.inddover_.indd SSec1:3ec1:3 228/11/20128/11/2012 111:161:16 s a teacher of English, we’re sure you will Aagree that teaching a foreign language can be stimulating, rewarding, and, even on occasion, a lot of fun! By the same token, teaching English also requires dedication, hard work and comes with its own unique set of challenges – a busy curriculum, large class sizes and, most commonly, uninspiring teaching materials. Here at Scholastic, we understand teachers and students. We are here to connect with your classes and to save you time. In our range of graded readers and teachers’ resource books you will fi nd a wealth of lively, meaningful content that has the potential to turn an otherwise dull lesson into an exciting one. Your students might fi nd themselves reading a biography of Steve Jobs, practising a Kung Fu Panda Holiday chant or acting out a scene from Shrek! Learning English requires commitment. It takes time and perseverance. It can be challenging and, at times, frustrating. But, most importantly, it should also be fun. At Scholastic, we’ve never lost sight of that. Wishing you and your students all the best for the future! Jacquie Bloese Publisher www.scholasticeltreaders.com SScholasticcholastic EELTLT CCAT2013_FINAL_.inddAT2013_FINAL_.indd 2 228/11/20128/11/2012 110:580:58 Contents Popcorn Readers pages 4–15 Introduction -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
Boston Ballet: Next Generation, 2016
HOME (HTTP://CRITICALDANCE.ORG/) / BALLET (USA & CANADA) (HTTP://CRITICALDANCE.ORG/CATEGORY/BALLET-USA-CANADA/) Boston Ballet: Next Generation, 2016 ! June 4, 2016 Boston Opera House Boston, MA May 18, 2016 Carla DeFord In its annual “Next Generation” program, Boston Ballet (BB) features students, trainees, and pre-professional dancers with music accompaniment performed by the New England Conservatory (NEC) Youth Orchestra. Having attended this event since 2014, I have to say that the star of this year’s show was Geneviève Leclair, assistant conductor of the Boston Ballet Orchestra, who guest conducted the NEC ensemble. There were also several memorable dancers, but the award for sustained achievement in music performance, including Act III of Tchaikovsky’s The Sleeping Beauty and excerpts from Ambroise Thomas’s Hamlet, goes to Leclair, who conducted the orchestra with such verve and precision that its members sounded not like the students they are, but like seasoned professionals. In addition to being essential to the audience’s enjoyment of the program, the music was an absolute gift to the dancers because it gave them the structure and direction they needed. Leclair’s confident dynamics and tempos, crisp rhythms, and crystalline phrasing created powerful forward momentum. Moreover, each style in the Tchaikovsky score was vividly realized – from the meowing of Puss in Boots and the White Cat, to the chirping of the Bluebird, to the stirring rhythms of the polonaise and mazurka. How wonderful for the dancers to be supported by music of such high caliber. Act III of The Sleeping Beauty (with choreography by Marius Petipa, Peter Martins after Petipa, and Alla Nikitina, a Boston Ballet School faculty member) also introduced us to the second star of the evening: Lex Ishimoto as the Bluebird. -
English Catholic Heraldry Since Toleration, 1778–2010
THE COAT OF ARMS The journal of the Heraldry Society Fourth Series Volume I 2018 Number 235 in the original series started in 1952 Founding Editor † John P.B.Brooke-Little, C.V.O, M.A., F.H.S. Honorary Editor Dr Paul A Fox, M.A., F.S.A, F.H.S., F.R.C.P., A.I.H. Reviews Editor Tom O’Donnell, M.A., M.PHIL. Editorial Panel Dr Adrian Ailes, M.A., D.PHIL., F.S.A., F.H.S., A.I.H. Dr Jackson W Armstrong, B.A., M.PHIL., PH.D. Steven Ashley, F.S.A, a.i.h. Dr Claire Boudreau, PH.D., F.R.H.S.C., A.I.H., Chief Herald of Canada Prof D’Arcy J.D.Boulton, M.A., PH.D., D.PHIL., F.S.A., A.I.H. Dr Clive.E.A.Cheesman, M.A., PH.D., F.S.A., Richmond Herald Steen Clemmensen A.I.H. M. Peter D.O’Donoghue, M.A., F.S.A., York Herald Dr Andrew Gray, PH.D., F.H.S. Jun-Prof Dr Torsten Hiltmann, PH.D., a.i.h Prof Peter Kurrild-Klitgaard, PH.D., F.R.Hist.S., A.I.H. Elizabeth Roads, L.V.O., F.S.A., F.H.S., A.I.H, Snawdoun Herald Advertising Manager John J. Tunesi of Liongam, M.Sc., FSA Scot., Hon.F.H.S., Q.G. Guidance for authors will be found online at www.theheraldrysociety.com ENGLISH CATHOLIC HERALDRY SINCE TOLERATION, 1778–2010 J. A. HILTON, PH.D., F.R.Hist.S. -
Contact:Dianela Acosta
Contact: Dianela Acosta | Phone: 646-438-0110 | Email: [email protected] FOR IMMEDIATE RELEASE THE PURRFECT INTRODUCTION TO OPERA, BOULDER OPERA’S FAMILY SHOW: PUSS IN BOOTS Boulder Opera performs Puss in Boots (English and Spanish versions) in Boulder and Lafayette for ages 3 and up Boulder/Lafayette, CO - This February 2020, Boulder Opera announces the revival and Colorado Premiere of the fairy tale Puss in Boots/Il Gato con Botas. Xavier Montsalvatge’s take on the classic story of an ingenious and quick-witted feline with magical talents is sure to entertain the whole family. Can Puss win the princess’ hand for his master? Will he outwit the evil ogre? Don’t miss the talented Boulder Opera singers and orchestra that will turn this fairytale into an afternoon of magical and adventurous opera. Just one hour and followed by a Q&A with the cast. For ages 3 and up. Returning this season as artistic director is Michael Travis Risner, a Boulder-based singer and director. “It is with great pleasure that we at Boulder Opera present Puss in Boots, or, in the original Spanish, Il Gato con Botas. Premiered in Spain in 1946, we are so happy to stage this wonderful work - a classic telling of the original Puss in Boots legend. Our audience will encounter not only the titular cat, but also the scary ogre whom he deceives, the beautiful princess, and the humble miller. For those familiar only with Puss from the popular Dreamworks movies, this will be a fun and unique way to learn the original story--an origin story, if you will--of one of their favorite characters.” Executive producer, Nadia Artman adds, “The Puss in boots production will be spectacularly beautiful and fit for all ages. -
Puss in Boots in the Wild West PANTOMIME
Puss in Boots in the Wild West PANTOMIME by Kate Goddard http://offthewallplays.com Copyright © May 2017 Kate Goddard and Off The Wall Play Publishers This script is provided for reading purposes only. Professionals and amateurs are hereby advised that it is subject to royalty. It is fully protected under the laws of South Africa, the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union. All rights, including but not limited to professional, amateur, film, radio, and all other media (including use on the worldwide web) and the rights of translation into foreign languages are strictly reserved; and any unauthorized use of the material may subject the user to any and all applicable civil and criminal penalties. For any information about royalties or to apply for a performance license please click the following link: http://offthewallplays.com/royalties-and-licensing-of-plays-sold-by-off-the-wall-plays/ Puss in Boots in the Wild West PANTOMIME by Kate Goddard A traditional pantomime for a large cast set in the American Wild West with a story based on the story of Puss in Boots. Dame Calamity Jean and the townsfolk of Dodgy City have their livelihoods threatened by the notorious gunslinging outlaw, Wild Wilma and her incompetent gang, El Zorillo and the three Amoebas. When a dancer visits from the Windy City with his inherited cat, the townsfolk put on their dancing shoes and find a way to stand up to Wilma and save the town. CAST: Chief Big Heap Do Lots - Magical Native -
Iuliia Kysla
Rethinking the Postwar Era: Soviet Ukrainian Writers Under Late Stalinism, 1945-1949 by Iuliia Kysla A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Department of History and Classics University of Alberta © Iuliia Kysla, 2018 Abstract This dissertation advances the study of late Stalinism, which has until recently been regarded as a bizarre appendage to Stalin’s rule, and aims to answer the question of whether late Stalinism was a rupture with or continuation of its prewar precursor. I analyze the reintegration of Ukrainian writers into the postwar Soviet polity and their adaptation to the new realities following the dramatic upheavals of war. Focusing on two parallel case studies, Lviv and Kyiv, this study explores how the Soviet regime worked with members of the intelligentsia in these two cities after 1945, at a time when both sides were engaged in “identification games.” This dissertation demonstrates that, despite the regime’s obsession with control, there was some room for independent action on the part of Ukrainian writers and other intellectuals. Authors exploited gaps in Soviet discourse to reclaim agency, which they used as a vehicle to promote their own cultural agendas. Unlike the 1930s, when all official writers had to internalize the tropes of Soviet culture, in the postwar years there was some flexibility in an author’s ability to accept or reject the Soviet system. Moreover, this dissertation suggests that Stalin’s postwar cultural policy—unlike the strategies of the 1930s, which relied predominantly on coercive tactics—was defined mainly by discipline by humiliation, which often involved bullying and threatening members of the creative intelligentsia. -
The Tale of Charles Perrault and Puss in Boots Morna Daniels
The Tale of Charles Perrault and Puss in Boots Morna Daniels In 1697 Charles Perrault published a small volume Histoires ou contes du temps passé, which became the source for a huge progeny of children’s books,pantomimes, ballets and folklore.1 The frontispiece of the first French edition shows an old lady telling stories by the fire-side, and a plaque above her reads Contes de ma mere LOye.2 In the first English edition, there is a similar picture, and the plaque is translated as Mother Goose’s Tales.This was the first time the French term appeared in an English book. In France it indicated that the story was a traditional one, told by old women who minded geese, or who cackled like geese; but in England it became applied to Perrault’s tales, which were often published without mentioning his name. Mother Goose entered the world of pantomime, often in association with Perrault’s characters. The stories were widely diffused, then re-collected by later folklore researchers, so that the Brothers Grimm collected German versions, believing them to be folk traditions. Not all of Perrault’s stories became equally popular.The eight stories in his collection were La belle au bois dormant, Le petit chaperon rouge, La barbe bleue, Le maître chat, ou le chat botté; Les fées,Cendrillon, ou la petite pantoufle de verre; Riquet à la houppe and Le petit Poucet.These are usually translated as ‘Sleeping Beauty’, ‘Little Red Riding Hood’, ‘Bluebeard’, ‘Puss in Boots’, ‘The fairies’ (or ‘The fairy’),‘Cinderella’,‘Riquet with the tuft’, and ‘Hop o’ my thumb’. -
Straparola: the Revolution That Was Not Dan Ben-Amos University of Pennsylvania, [email protected]
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 2010 Straparola: The Revolution That Was Not Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/nelc_papers Part of the Cultural History Commons, European History Commons, European Languages and Societies Commons, Folklore Commons, Near and Middle Eastern Studies Commons, and the Oral History Commons Recommended Citation Ben-Amos, D. (2010). Straparola: The Revolution That Was Not. The Journal of American Folklore, 123 (490), 426-446. http://dx.doi.org/10.5406/jamerfolk.123.490.0426 This paper is posted at ScholarlyCommons. http://repository.upenn.edu/nelc_papers/90 For more information, please contact [email protected]. Straparola: The Revolution That Was Not Abstract Inspired by Ruth Bottigheimer's 2002 book, Fairy Godfather: Straparola, Venice, and the Fairy Tale Tradition, this article examines her proposition that the sixteenth-century Italian author Giovanni Francesco Straparola invented the "rise tale," in which a lowly hero or heroine climbs the socioeconomic ladder with the help of a magical benefactor. It investigates Bottigheimer's evidence for this claim as well as her argument that Straparola's literary invention was a projection of the emerging Italian middles class in the sixteenth century. Contrary to Bottigheimer's proposition, it is found that tales with similar form were told in classical Greece and in