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La Dame Aux Camelias' Effect on Society's View of the “Fallen Woman”
The Kabod Volume 2 Issue 2 Spring 2016 Article 7 January 2016 La Dame aux Camelias’ Effect on Society’s View of the “Fallen Woman” Christiana Johnson Liberty University, [email protected] Follow this and additional works at: https://digitalcommons.liberty.edu/kabod Part of the Dramatic Literature, Criticism and Theory Commons, and the French and Francophone Literature Commons Recommended Citations MLA: Johnson, Christiana "La Dame aux Camelias’ Effect on Society’s View of the “Fallen Woman”," The Kabod 2. 2 (2016) Article 7. Liberty University Digital Commons. Web. [xx Month xxxx]. APA: Johnson, Christiana (2016) "La Dame aux Camelias’ Effect on Society’s View of the “Fallen Woman”" The Kabod 2( 2 (2016)), Article 7. Retrieved from https://digitalcommons.liberty.edu/kabod/vol2/iss2/7 Turabian: Johnson, Christiana "La Dame aux Camelias’ Effect on Society’s View of the “Fallen Woman”" The Kabod 2 , no. 2 2016 (2016) Accessed [Month x, xxxx]. Liberty University Digital Commons. This Individual Article is brought to you for free and open access by Scholars Crossing. It has been accepted for inclusion in The Kabod by an authorized editor of Scholars Crossing. For more information, please contact [email protected]. Johnson: La Dame aux Camelias’ and the Fallen Woman Johnson 1 Christiana Johnson Dr. Towles English 305-001 19 November 2015 La Dame aux Camelias’ Effect on Society’s View of the “Fallen Woman” Over the course of history, literature has featured the “fallen woman.” Put simply, the “fallen woman” is a woman who has had sexual relations prior to marriage and is thus viewed as beneath a certain moral standard. -
Hunchback LIBVB.Pdf
THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) . -
Actes Et Paroles – Volume IV
Victor Hugo Actes et paroles – Volume IV 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Victor Hugo Actes et paroles – Volume IV Depuis l'Exil 1876-1885 DEPUIS L'EXIL 1876-1885 1876 I POUR LA SERBIE Il devient nécessaire d'appeler l'attention des gouvernements européens sur un fait tellement petit, à ce qu'il paraît, que les gouvernements semblent ne point l'apercevoir. Ce fait, le voici: on assassine un peuple. Où? En Europe. Ce fait a-t-il des témoins? Un témoin, le monde entier. Les gouvernements le voient-ils? Non. Les nations ont au-dessus d'elles quelque chose qui est au-dessous d'elles les gouvernements. A de certains moments, ce contre-sens éclate: la civilisation est dans les peuples, la barbarie est dans les gouvernants. Cette barbarie est-elle voulue? Non; elle est simplement professionnelle. Ce que le genre humain sait, les gouvernements l'ignorent. Cela tient à ce que les gouvernements ne voient rien qu'à travers cette myopie, la raison d'état; le genre humain regarde avec un autre oeil, la conscience. Nous allons étonner les gouvernements européens en leur apprenant une chose, c'est que les crimes sont des crimes, c'est qu'il n'est pas plus permis à un gouvernement qu'à un individu d'être un assassin, c'est que l'Europe est solidaire, c'est que tout ce qui se fait en Europe est fait par l'Europe, c'est que, s'il existe un gouvernement bête fauve, il doit être traité en bête fauve; c'est qu'à l'heure qu'il est, tout près de nous, là, sous nos yeux, on massacre, on incendie, on pille, on extermine, -
Ninon De Lenclos
NINON DE LENCLOS ET LES PRÉCIEUSES DE LA PLACE ROYALE PAR JEAN-BAPTISTE CAPEFIGUE. PARIS - AMYOT - 1864 I. — Le Marais, la place Royale et la rue Saint-Antoine (1614-1630). II . — Louis XIII. - Sa cour. - Sa maison. - Les Mousquetaires (1604-1630). III . — Les premiers amours du roi Louis XIII (1619-1620). IV . — Les Perles du Marais sous Louis XIII (1614-1630). V. — Mlle de la Fayette. - Le cardinal de Richelieu. - Le grand écuyer Cinq-Mars (1630-1635). VI . — La vie religieuse à Paris.- Les couvents. - Les Carmélites. - Les Visitandines. - Mme Chantal. - Saint Vincent de Paul. Mlle de la Fayette au monastère (1614- 1630). VII . — La société joyeuse et littéraire de Paris sous Louis XIII (1625-1635). VIII . — Dictature du cardinal de Richelieu. - Rapprochement de Louis XIII avec la reine. - Exécution de Cinq-Mars (1639-1642). IX . — Les arts sous Louis XIII. - Rubens. - Poussin. Lesueur. - Callot (1635-1642). X. — La place Royale après la mort du cardinal de Richelieu (1642-1646). XI . — Le Marais. - Le faubourg Saint-Antoine durant la Fronde (1648-1650). XII . — Restauration du pouvoir. - Les premières amours de Louis XIV. - Les filles d'honneur de Madame. - Mlle de la Vallière (1655-1665). XIII . — Décadence de l'esprit frondeur. - Servilité des arts et de la littérature sous Louis XIV (1660-1680). XIV . — Derniers débris de la Fronde et de la place Royale (1665-1669). XV . — Les destinées du Marais et du faubourg Saint- Antoine (1714-1860). Il est un vieux quartier de Paris que nous aimons à visiter comme on salue d'un doux respect, une aïeule bien pimpante, bien attifée avec l'esprit de Mme de Sévigné, le charme de la marquise de Créquy ; ce quartier, c'est le Marais. -
The Hunchback of Notre Dame – the Musical”
Vol. 20 No. 2, Agustus 2019: 61-69 Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical” Chrysogonus Siddha Malilang1 Malmö Universitet ABSTRACT This essay aims to analyze the multimodal storytelling involving songs inThe Hunchback of Notre Dame – The Musical. Two songs, “God Helps the Outcasts” and “Hellfire”, are chosen to be analyzed hermeneutically. The primary analysis is done through the scrutiny over the juxtaposition of different musical styles in the said songs. Comparisons to Victor Hugo’s original text and the Disney animated version – in which the musical is based on – is also done to shed more light on the new layers of interpretation. Keywords: musical juxtaposition; musical theater; liturgical music; multimodal storytelling ABSTRAK Mary, Esmeralda, dan Frollo: Pembacaan Hermeneutik tentang “The Hunchback of Notre Dame – The Musical”. Artikel ini bertujuan untuk mempelajari dan menganalisis multimodal story telling dalam rangkaian lagu-lagu pada The Hunchback of Notre Dame – the Musical. Dua lagu, “God Helps the Outcasts” dan “Hellfire” dipilih sebagai fokus penelitian hermeneutik. Analisis utama dilakukan melalui studi jukstaposisi gaya musik yang berbeda dalam lagu-lagu tersebut. Perbandingan dengan text asli karangan Victor Hugo dan versi animasi Disney – yang menjadi dasar naskah drama musikal ini – juga dilakukan untuk menggali interpretasi baru yang dihasilkan lebih dalam. Kata kunci: jukstaposisi musik; teater musikal; musik liturgis; multimodal storytelling Introduction When Disney re-wrote “The Hunchback of Notre Dame” into a musical performance, several As the writer began writing this essay, the news other songs from the animated version received the outlet from every corner of the world reported same treatment as “Hellfire”. -
Resituating Transatlantic Opera: the Case of the Théâtre D'orléans, New
Resituating Transatlantic Opera: The Case of the Théâtre d’Orléans, New Orleans, 1819–1859 Charlotte Alice Bentley Emmanuel College October 2017 This dissertation is submitted for the degree of Doctor of Philosophy ABSTRACT This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. -
La Esmeralda
Victor Hugo La Esmeralda − Collection Théâtre − Retrouvez cette oeuvre et beaucoup d'autres sur http://www.inlibroveritas.net Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. Table des matières La Esmeralda..............................................................................................1 LIBRETTO..........................................................................................2 PERSONNAGES.................................................................................4 ACTE PREMIER................................................................................5 SCENE PREMIERE............................................................................6 SCÈNE II...........................................................................................12 SCENE III..........................................................................................17 ACTE DEUXIÈME − SCENE PREMIERE.....................................22 SCENE II...........................................................................................24 SCENE III..........................................................................................28 SCÈNE IV.........................................................................................31 ACTE TROISIÈME − SCÈNE PREMIERE.....................................35 SCÈNE II...........................................................................................39 SCÈNE III..........................................................................................42 -
The Stones of Paris in History and Letters
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES FROM THE LIBRARY OF JIM TULLY GIFT OF MRS. JIM TULLY THE STONES OF PARIS IN HISTORY AND LETTERS M.klaiiK' i.1e Sevii;ne. (I'Vom ihu portriut liy Miuiuinl.) THE STONES OF PARIS IN HISTORY AND LETTERS BY BENJAMIN ELLIS MARTIN AND CHARLOTTE M. MARTIN IN TWO VOLUMES Vol. II ILLUSTRATED NEW YORK CHARLES SCRIBNER'S SONS MDCCCXCIX Copyright, 1899, by CHARLES SCRIBNER'S SONS TROW DPBECTORT PRINTING AND BOOKBINDING COMPANY DC ' ; ,; .i5'5's CONTENTS Page The Southern Bank in the Nineteenth Century . 1 The Paris of Honore de Balzac 51 The Paris of Alexandre Dumas 89 The Paris of Victor Hugo 123 The Making of the Marais 163 The Women of the Marais 213 ^ B LIST OF ILLUSTRATIONS From drawings by John Fiilleylove, Esq. The portraits from photographs by Messrs. Braiin, CWment et Cie. Madame de Sevigne (from the portrait by Mignard) . Frontispiece PAGE Alphonse de Lamartine (from a sketch by David d'Angers, " tin soir chez Hugo") . facing lo Madame Recamier (from the portrait by Gros) . facing 40 The Abbaye-aux-Bois ........ 43 Portal of Chateaubriand's Dwelling in Rue du Bac ... 46 The Court of the Pension Vauquer .... facitig 5 2 Honore de Balzac (from the portrait by Louis Boulanger)y;zf/«^ 64 Les Jardies .......... 70 The Antiquary's Shop, and in the back-ground the house where Voltaire died ....... facing 78 The Pension Vauquer ........ 80 The Commemorative Tablet to Balzac . 84 The Figure of d'Artagnan (from the Dumas Monument by Gustave Dore) ...... facing 90 Alexandre Dumas ...... -
Le Personnage De Pierre Gringoire Jordi Brahamcha-Marin
Le personnage de Pierre Gringoire Jordi Brahamcha-Marin To cite this version: Jordi Brahamcha-Marin. Le personnage de Pierre Gringoire. 2018. halshs-01690220 HAL Id: halshs-01690220 https://halshs.archives-ouvertes.fr/halshs-01690220 Submitted on 22 Jan 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. LE PERSONNAGE DE PIERRE GRINGOIRE Jordi Brahamcha-Marin (Le Mans Université) Ce texte est la version auteur d’un article publié sur le site du laboratoire 3L.AM : http://3lam.univ- lemans.fr/fr/publications/notre-dame-de-paris.html Si l’on considère la genèse de Notre-Dame de Paris, on doit bien constater que Gringoire est un personnage déchu. Le premier projet de roman élaboré par Hugo, et interrompu par la révolution de 1830, attribuait à ce personnage un rôle plus important que dans la version finale : Phœbus de Châteaupers n’avait pas encore été inventé, et Gringoire jouait, à sa place, le rôle de rival de Claude Frollo. Signe paradoxal de cette importance romanesque : il mourait, remplaçant in extremis la Esmeralda sur le gibet1. La connaissance de cette préhistoire du roman nous conduit naturellement à envisager le personnage de Gringoire à travers la question de son réemploi : que faire de Gringoire, quel rôle lui assigner, à partir du moment où Phœbus l’a détrôné comme troisième amoureux de la Esmeralda ? Nous ne comptons pas nous aventurer dans une comparaison entre les deux états du roman – le premier ne nous est connu que par une ébauche de plan : la confrontation tournerait court. -
The Hunchback of Notre Dame
COMPLETE The Hunchback CLASSICS UNABRIDGED of Notre Dame Victor Hugo Read by Bill Homewood 1 Preface 2:40 2 Book 1, Chapter 1 7:31 3 Around the hall, along the lofty wall... 7:28 4 In the middle of the hall, opposite the great door... 7:32 5 At length one of these, as fat, short, and venerable as himself... 8:02 6 Meanwhile, the sworn bookseller of the university... 6:39 7 Book 1, Chapter 2 7:50 8 ‘And for the refreshment of the passers-by,’ continued Gisquette... 8:16 9 A tattered mendicant, who could not collect any coins... 7:27 10 Book 1, Chapter 3 8:32 11 It was this justly acquired popularity, no doubt... 7:54 12 There was one exception, however. 1:08 13 Book 1, Chapter 4 7:57 14 From that moment, Master Coppenole enjoyed in Paris as in Ghent... 7:40 15 Both parties were forced to resign themselves. 8:17 16 Book 1, Chapter 5 6:04 17 As for Gringoire, the first moment of depression having passed... 5:44 18 One would have pronounced him a giant... 5:57 19 Book 1, Chapter 6 5:39 20 Book 2, Chapter 1 7:12 2 21 Book 2, Chapter 2 6:05 22 Book 2, Chapter 3 6:03 23 The young girl, stopped at length... 6:44 24 Her voice was like her dancing, like her beauty… 5:03 25 After the kingdom of the Argotiers... 7:27 26 Book 2, Chapter 4 6:02 27 The young girl’s attention had been attracted to him.. -
Émile Zola, Novelist and Reformer
/ V7'6 CORNELL UNIVERSITY LIBRARY THE Joseph Whitmore Barry dramatic library THE GIFT or TWO FRIENDS OF Cornell University 1934 A DATE DUE PR1NTEDIN U.S. Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924088660588 EMILE ZOLA Photo by Cautin & Bcrger Emile Zola in his last days £MILE ZOLA NOVELIST AND REFORMER AN ACCOUNT OF HIS LIFE & WORK BY ERNEST ALFRED VIZETELLY ILLUSTRATED BY PORTRAITS, VIEWS, 6f FAC-SIMILES JOHN LANE: THE BODLEY HEAD LONDON £3" NEW YORK • MDCCCCIV Copyright, 1904. By JOHN LANE 1 ^ THE UNIVERSITY PRESS CAMBRIDGE, MASS. , O. S. A. TO HIS MEMORY " If, upon your side, you have the testimony of your conscience, and, against you, that of the multitude, take comfort, rest assured that time will do justice.'^ — Diderot PREFACE This book is an attempt to chronicle the chief incidents in the life of the late Emile Zola, and to set out the various aims he had in view at different periods of a career which was one of the most strenuous the modern world has known. Virtually all his work is enumerated in the following pages, which, though some are given to argument and criticism, will be found crowded with facts. The result may not be very artistic, but it has been partially my object to show what a tremendous worker Zola was, how incessantly, how stubbornly, he practised the gospel which he preached. An attempt has been made also to show the growth of humani- tarian and reforming passions in his heart and mind, passions which became so powerful at last that the " novelist " in Zola seemed as nothing. -
029I-VOCBX1926X01-0000A0.Pdf
ROY HENDERSON The brilliant young baritone-exclusive tc) 'Vocalion Operatic & Orchestral ROY HENDERSON (Baritone) With The Aeolian Orchestra Falstaff. Act 2, Scene 1. In English Verdi K 05205 12" 4/6 Parts I and 2 { Falstaff. Act 2, Scene 1. In English Verdi I Parts 3 and 4 K 05206 12" 4;6 All three roles sung by Roy Henderson MUSIC-LOVERS who know their " Falstaff"-that wonderful operatic version of Shakespeare's " Merry Wives of Windsor "-will remember that, in the second act. Ford, the husband o£ one of the two roguish wives, visits Falstaff under the name of" Master Brook" and begs the reprobate old knight, as an invincible lady- killer, to practice his amorous arts on Mistress Ford, so that he, the supposed "Master Brook," may afterwards secure her favours too. With wonderful skill and versatility, helped by inAenious recordini; methods, Mr. Henderson 1 as succeeted in differentiating most cl'verly between the voices and personalities of Falstaff himself, of Ford as " Master Brook," and of Ford in his own person, and has thus produced a record the like of which, so far as we are aware, has never been attempted before. Mr. Henderson recently made a tremendous hit by his assumption of the part of Ford in the revival of the opera by the Royal Acad-my of Music at the Scala Theatre-whence arose no doubt the idea of this remarkable combination of roles which he has now carried out so brilliantly. THE AEOLIAN ORCHESTRA (Conducted by the Composer) The Wasps Overture } A-0249 12" 5/6 Parts I & II.