The Epithelial to Mesenchymal Transition in Breast Cancer Induces Alterations in Metabolism
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Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
From Stories to Systems
Table of Contents !! ! 01 Imaginaton Requested 03 The Five Discoveries 07 Why Narratve Systems? 09 Seeding Narratve Systems 11 How Narratve Systems Work 23 The System Framework 24 The Road Ahead 25 Epilogue: Questons to Consider 26 Appendix: Field and Funder Contributors ! POP CULTURE COLLABORATIVE - FROM STORIES TO SYSTEMS Prologue The Pop Culture Collaborative was founded in October 2016 by a network of philanthropic leaders—primarily women of color—led by Unbound Philanthropy, Nathan Cummings Foundation, and Ford Foundation, who came together to imagine what might be possible if they expanded the impact of their grantmaking by pooling their resources, strategic thinking, and leadership influence to dramatically increase philanthropic investment in the pop culture for social change field. After many years of experimental funding at the intersection of art, media, and social change, they recognized that due to a lack of infrastructure, networks, and financial support, many past grantmaking strategies (e.g., support for specific creative projects or campaigns) had been implemented in silos. While some funded projects succeeded in creating awakenings in individuals or smaller audiences, they seldom reached mass audience scale. Because they were also rarely implemented within a long-term culture change strategy, most projects were not durable enough to achieve long-term, sustainable shifts in some of the deeply entrenched values and norms that characterize American culture. These funders realized that they were, in essence, squeezing drops of justice into an ocean largely composed of unjust ideas, rather than supporting a field of practitioners to holistically transform these narrative waters. The Pop Culture Collaborative was imagined as a laboratory environment for the pop culture for social change field, designed to create an immersive learning and testing environment that could enable funders and field members to discover, together, how best to achieve this depth and scale of narrative transformation in the United States. -
Download a PDF of the Program
RIPCORDUPROARIOUS COMEDY FROM THE AUTHOR OF GOOD PEOPLE MAY 26-JUNEBY DIRECTED BY 25 SOUTH END DAVID JESSICA CALDERWOOD PAVILION AT THE BCA LINDSAY-ABAIRE STONE Seasonal cocktails, handmade pasta, perfectly cooked steaks & fresh seafood, expertly prepared using the nest ingredients. At Davio’s, it’s all about the guest. CONTENTS MAY–JUNE2017 7 THE PROGRAM 10 INTERVIEW WITH PLAYWRIGHT DAVID LINDSAY-ABAIRE 12 INTERVIEW WITH COSTUMER DESIGNER GABRIEL BERRY PLUS: 10 by Olivia J. Kiers 4 Backstage 14 About the Company 34 Patron Services 35 Emergency Exits 38 Guide to Local Theatre 44 Boston Dining Guide 46 Dining Out: Top of the Hub 38 Shots Scott Nile Hawver/Nile theatrebill STAFF Publishing services are provided by Theatrebill, a pub- lication of New Venture Media Group LLC, publisher of President/Publisher: Tim Montgomery Panorama: The Official Guide to Boston, 560 Harrison Ave., Suite 412, Boston, MA 02118, 857-366-8131. Art Director: Scott Roberto Assistant Art Director: Laura Jarvis Editorial Assistant: Olivia J. Kiers WARNING: The photographing or sound recording of any performance or the possession of any device Vice President Publishing: Rita A. Fucillo for such photographing or sound recording inside Vice President Advertising: Jacolyn Ann Firestone this theatre, without the written permission of the Senior Account Executive: Andrea Renaud management, is prohibited by law. Violators may be punished by ejection and violations may render the Chief Operating Officer: Tyler J. Montgomery offender liable for money damages. Business Manager: Melissa J. O’Reilly FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. -
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02-2018 108 TEERTH YATRA Sony Wah TV004 07-05-2017 1234 Zee Talkies HD TV005 18-06-2017 13 NO TARACHAND LANE Zee Bangla HD TV006 27-09-2015 13 NUMBER TARACHAND LANE Zee Bangla Cinema TV007 25-08-2016 2012 RETURNS Zee Action TV008 02-07-2015 22 SE SHRAVAN Jalsha Movies TV009 04-04-2017 22 SE SRABON Jalsha Movies HD TV010 24-09-2016 27 DOWN Zee Classic TV011 26-12-2018 27 MAVALLI CIRCLE Star Suvarna Plus TV012 28-08-2016 3 AM THE HOUR OF THE DEAD Zee Cinema HD TV013 04-01-2016 3 BAYAKA FAJITI AIKA Zee Talkies TV014 22-06-2017 3 BAYAKA FAJITI AIYKA Zee Talkies TV015 21-02-2016 3 GUTTU ONDHU SULLU ONDHU Star Suvarna TV016 12-05-2017 3 GUTTU ONDU SULLU ONDU NIJA Star Suvarna Plus TV017 26-08-2017 31ST OCTOBER STAR Gold Select HD TV018 25-07-2015 3G Sony MIX TV019 01-04-2016 3NE CLASS MANJA B COM BHAGYA Star Suvarna TV020 03-12-2015 4 STUDENTS STAR Vijay TV021 04-08-2018 400 Star Suvarna Plus TV022 05-11-2015 5 IDIOTS Star Suvarna Plus TV023 27-02-2017 50 LAKH Sony Wah TV024 13-03-2017 6 CANDLES Zee Tamil TV025 02-01-2016 6 MELUGUVATHIGAL Zee Tamil TV026 05-12-2016 6 TA NAGAD Jalsha Movies TV027 10-01-2016 6-5=2 Star Suvarna TV028 27-08-2015 7 O CLOCK Zee Kannada TV029 02-03-2016 7 SAAL BAAD Sony Pal TV030 01-04-2017 73 SHAANTHI NIVAASA Zee Kannada TV031 04-01-2016 73 SHANTI NIVASA Zee Kannada TV032 09-06-2018 8 THOTAKKAL STAR Gold HD TV033 28-01-2016 9 MAHINE 9 DIWAS Zee Talkies TV034 10-02-2018 A Zee Kannada TV035 20-08-2017 -
From Shakespearean Text to Cinema: a Study of Select Dramaturgic Adaptations
FROM SHAKESPEAREAN TEXT TO CINEMA: A STUDY OF SELECT DRAMATURGIC ADAPTATIONS THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Doctor of philosophy In English By FATIMAH JAVED UNDER THE SUPERVISION OF PROF. SAMINA KHAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (U.P) INDIA 2017 Professor Samina Khan Department of English Aligarh Muslim University, Aligarh Phone No: 09997398308 [email protected] Certificate Certified that the thesis entitled “From Shakespearean Text to Cinema: A Study of Select Dramaturgic Adaptations” submitted by Ms. Fatimah Javed for the award of the degree of the Doctor of Philosophy is an original work carried out under my supervision and has not been submitted, in part or full, to this University or any other University. Prof. Samina Khan Date: Supervisor Acknowledgements I am sincerely indebted to all those people who have helped, guided and encouraged me while I was working on my thesis. First and foremost, I thank my supervisor, Prof. Samina Khan who appreciated the idea and supported me at each and every phase of my research. I owe her my heartfelt gratitude for being there as my guide. This work would not have been possible without her able guidance and support. I would like to thank the Chairperson, Department of English, for her help and support. I would also like to extend a big thanks to Dr. Jawed S. Ahmad for his diligent proofreading of my various chapters. I am equally thankful to Dr. Akbar Joseph A. Syed and Dr. Rashmi Attri for their valuable suggestions and feedback. I also thank my friend Dr. -
In Search of a Happy Ending: the Afterlife of Romeo and Juliet on the Asian Screen1
ATLANTIS Journal of the Spanish Association of Anglo-American Studies 38.1 (June 2016): 185-200 issn 0210-6124 In Search of a Happy Ending: The Afterlife of Romeo and Juliet on the Asian screen1 Rosa M. García-Periago Universidad de Murcia [email protected] This essay takes as its starting point the view that the afterlife of Romeo and Juliet in several Asian Shakespearean film adaptations is characterised by the presence of a happy ending. The film corpus used consists of adaptations set in countries such as India 1942:( A Love Story, Issaq and Ram-Leela), China (Qing Renjie), Singapore (Chicken Rice Wars) and Japan (a Japanese TV adaptation of Romeo and Juliet). The first section explores how the ending is actually altered and the second provides a brief historical overview of Romeo and Juliet in these countries and considers why all these adaptations feel the need to transform the tragic dénouement for a happy resolution. As post-colonial—and hybridised—works, or simply works aiming to resist Western hegemonic power, the purpose of the adaptations considered is two-fold: to challenge the Western authority of Shakespeare and to offer a new way of reading the play via the use of mimicry, parody or the burlesque. The last section then demonstrates the strategies used by all these adaptations to advance an inauthentic ending; they all “cheat” and play with the audience. All the modern-day adaptations explored highlight the need to have popular appropriations of the play—beyond straightforward literary productions—which reinterpret and rewrite the Shakespearean play in an Asian context in order to make it their own. -
Domesticating Shakespeare: a Study of Indian Adaptation of Shakespeare in Popular Culture
European Journal of English Language and Literature Studies Vol.2, No.3, pp.48-58, September 2014 Published by European Centre for Research Training and Development UK (www.eajournals.org) DOMESTICATING SHAKESPEARE: A STUDY OF INDIAN ADAPTATION OF SHAKESPEARE IN POPULAR CULTURE Dr Mukesh Yadav* Assistant Professor, Al-Jouf University, Kingdom of Saudi Arabia, Sakaka PO.BOX 2014 ABSTRACT: Shakespeare plays are illustration of the success and failures of human responses to order. These illustrations are very well captivated and displayed on silver screen. This paper is an attempt to study the Indian adaptation of Shakespeare in Popular Culture. It scrutinizes how Shakespeare has been utterly absorbed into the Indian imagination. The work mainly deals with recent four Shakespearean adaptations in Indian cinema : the bollywood director Vishal Bhardwaj’s movie Maqbool (released in 2004; based on Shakespeare’s adaptation of Macbeth), Omkara (released in 2006; based on Shakespeare’s adaptation of Othello) , director Manish Tiwari’s Issaq (released in 2012; based on Shakespeare’s adaptation of Romeo and Juliet) , the Malyalam film director VK Prakash’s Karamyogi (released in 2012; based on Shakespeare’s adaptation of Hamlet). These movies achieved great success in India and domesticate Shakespeare like never before. The paper makes a foray into the strategies through which cinematic representation functions to ratify the existing social order. The paper analyses the ideology that governs the production of the film and the meanings that are transmitted through it. KEYWORDS: Popular Culture; Indian cinema; Shakespearean adaptations; Bollywood. INTRODUCTION Colonialism brought Shakespeare to Indian subcontinent. India’s extensive history of colonial domination extends to cultural domination. -
Historical Dictionary of Somalia, New Edition
Historical Dictionary of Somalia, New Edition Mohamed Haji Mukhtar The Scarecrow Press 02-304 Front 12/17/02 8:17 AM Page i AFRICAN HISTORICAL DICTIONARIES Edited by Jon Woronoff 1. Cameroon, by Victor T. Le Vine and Roger P. Nye. 1974. Out of print. See No. 48. 2. The Congo, 2nd ed., by Virginia Thompson and Richard Adloff. 1984. Out of print. See No. 69. 3. Swaziland, by John J. Grotpeter. 1975. 4. The Gambia, 2nd ed., by Harry A. Gailey. 1987. 5. Botswana, by Richard P. Stevens. 1975. Out of print. See No. 70. 6. Somalia, by Margaret F. Castagno. 1975. Out of print. See No. 87. 7. Benin (Dahomey), 2nd ed., by Samuel Decalo. 1987. Out of print. See No. 61. 8. Burundi, by Warren Weinstein. 1976. Out of print. See No. 73. 9. Togo, 3rd ed., by Samuel Decalo. 1996. 10. Lesotho, by Gordon Haliburton. 1977. 11. Mali, 3rd ed., by Pascal James Imperato. 1996. 12. Sierra Leone, by Cyril Patrick Foray. 1977. 13. Chad, 3rd ed., by Samuel Decalo. 1997. 14. Upper Volta, by Daniel Miles McFarland. 1978. 15. Tanzania, by Laura S. Kurtz. 1978. 16. Guinea, 3rd ed., by Thomas O’Toole with Ibrahima Bah-Lalya. 1995. 17. Sudan, by John Voll. 1978. Out of print. See No. 53. 18. Rhodesia/Zimbabwe, by R. Kent Rasmussen. 1979. Out of print. See No. 46. 19. Zambia, 2nd ed., by John J. Grotpeter, Brian V. Siegel, and James R. Pletcher. 1998. 20. Niger, 3rd ed., by Samuel Decalo. 1997. 21. Equatorial Guinea, 3rd ed., by Max Liniger-Goumaz. -
Film Adaptation of Shakespeare for Modern Audience
Volume-11,Issue-3,December-2017 Film Adaptation of Shakespeare for Modern Audience Dr. Narendra K. Patel Assi. Professor Shri P. K. Chaudhari Mahila Arts College Sector-7, Gandhinagar Abstract We know some writers through film, television or social media. The modern generation is more used to these mediums. Films are playing a major role to popularize the writers. Reading books is sometimes considered to be old fashioned. Film adaptation of Shakespeare has formed the contemporary consciousness of the audience around the world. William Shakespeare is considered to be a major source for film directors not in Hollywood but in Bollywood also. The modern film makers recreate Shakespeare through films for the modern audience. The modern directors reinvent Shakespeare in their films and the modern audience also wants the entertaining Shakespeare. Keywords Film, Television, Film Adaptation, Audience, Cinematic, Film, Television and Social Medias i.e. computer mediated technologies are the integral part of our life. We are less used to books since these mediums are getting more and more popularity. Most of us know writers or their works through these mediums. In 1979 Morris Beja estimated that 20 to 30 percent of American films released each year are adapted from novels and that 75 percent of the top Academy Awards have gone to adaptations. We find a strong relationship between literature and film. Films are playing a major role to popularize the writers. William Shakespeare is a major source for the film directors or he is considered as the most popular screenwriter for the film industry especially in Hollywood. Shakespeare’s all works, except poetic works, have been adapted by the film makers. -
PAY NO ATTENTION Program
Target Margin Theater Target Margin Theater 232 52nd Street Brooklyn, NY 11220 presents 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf PAY NO General Manager: Lu Liu Interns: Madeleine Goldsmith, Lorna Perez Graphic Designer: Maggie Hoffman BOARD OF DIRECTORS ATTENTION Hilary Alger, Clark Anderson, Matt Boyer, Paul Giamatti, David Herskovits, Dana Kirchman, Katherine Levin, Donna Manion, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. TO THE ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. After more GIRL than 25 years producing in New York City, we finally have a home, THE DOXSEE--a new performance venue in Sunset Park where we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. UP NEXT SINDBAD LAB May 31 - June 24, 2018 Lead Artists: Avi Amon, Kareem Fahmy, Stephanie Weeks, and Moe Yousuf Target Margin presents the Sinbad Lab--a wanderlust performance festival dismantling the classic Sindbad voyages from The Thousand and One Nights. The festival features four new productions by emerging artists, including composer and musician Avi Amon, director / playwright Kareem Fahmy, actor and director Stephanie Weeks, and Target Margin Theater Associate Artistic Director Moe Yousuf. INSTITUTE The Institute provides each Fellow a $1,000 stipend, institutional support and space for open-ended questioning and experimentation within, and at the edges of, the form of theater. 2018 Fellows: Tom Bane, Nelson T. Eusebio III, Noelle Ghoussaini, and Normandy Sherwoood. -
Shakespearean Adaptations and Representations Elena PALI
Annalsăofătheă„ConstantinăBrâncu i”ăUniversityăofăTârguăJiu,ăLetterăandăSocialăScienceăSeries, Supplement 1/2017 ș Shakespearean adaptations and representations AdaptriăiăreprezentriăaleăopereiăluiăShakespeare Elena PALI “ConstantinăBrâncuşi”ăUniversityăofăTârgu-Jiu Abstract The British Arts & Humanities Research Council created an impressive database containing all the adaptationsăandărepresentationsăofăShakespeare’s drama on television, film and radio created from 1890 toătheăcontemporaryătime.ăTheăresultăwasăaălistăofămoreăthană410ăfilmsăandătelevisionăvariantsăofătheăBard’să plays, some of which respect the original text and others rebuild it for a new audience, for a new age. This proves the incredible adaptability of the Shakespearean text to stage and screen, the fact that it is an endless source of inspiration for modern artistic forms of expression. Key words: adaptation, representation, drama, stage Shakespeare is without doubt the author of theater the most adapted to the cinema, either in faithful transpositions of its plays or in adaptations to other settings in time and space. The first question is: why does the Shakespearean drama transfer so easy to the screen? Maybe because it anticipates the realism idea thatăsuccessfulăliteratureămirrorsăreality,ăthatăliteratureăcană“beăseenăasăaăparticularărepresentationăofătheă world,ăleadingătoădepersonalization”1. A possible answer to this mystery could be related to the similarities, but moreover to the differences between the structure of the Elizabethan theatre and the cinematic -
Download 2014–2015 Catalogue of New Plays
CCoverover SSpreadpread 11415.ai415.ai 1 77/28/2014/28/2014 112:15:052:15:05 PPMM IInsidenside CCoverover SSpreadpread 11415.ai415.ai 1 88/12/2014/12/2014 55:13:13:13:13 PPMM Catalogue of New Plays 2014–2015 © 2014 Dramatists Play Service, Inc. NNEWEW CCATALOGUEATALOGUE 114-15.indd4-15.indd 1 88/12/2014/12/2014 110:23:060:23:06 AAMM Dramatists Play Service, Inc. A Letter from the President Fall 2014 Dear Subscriber: After 22 years, you’ll see that this traditional letter is being sent to you by someone new. Stephen Sultan is now enjoying a well-deserved retirement, although he remains onboard here at the Play Service as a trusted and valued consultant. I became the president — only the sixth to head the company since its founding in 1936 — in January, after years of serving as an agent representative on our Board of Directors. I couldn’t be happier in my new position, as DPS has always meant a great deal to me. And I am extremely fortunate to work with a wonderful staff, whose dedication, intelligence, and good humor are an inspiration. The original charter for Dramatists Play Service empha- sizes the importance of the word “service” in our name. I think you’ll find that the service to both our customers and our playwrights continues at a higher level than ever before. As always, there are some great new additions to our catalogue this year. I’m very happy that we have acquired all five nominees for Best Play in this season’s Tony Awards, with ALL THE WAY, Robert Schenkkan’s riveting portrait of LBJ and the politics of power and compromise, leading the pack.