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Good King Charles Study Guide New.Pub
In Good King Charles’s Golden Days By Bernard Shaw ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 The Playwright 5 Who’s Who 6-7 Director’s Notes 8 Designer’s Notes 9-10 Production History 11 World of the Play 12-16 Did You Know? 17 Say What? 18 Sources 19 Activities 20-32 THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written during, or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – musical treats either from, or set during the period of our mandate • Canadian Work – to allow us to hear and promote our own stories, and our own WHAT MAKES points of view about the mandate period. SHAW SPECIAL MEET THE COMPANY — OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central action helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design. -
A Passion for Porcelain: a Symposium in Honour of Meredith Chilton September 21 - 22, 2018
A Passion for Porcelain: A Symposium in Honour of Meredith Chilton September 21 - 22, 2018 Friday September 21 9 - 9:45 am Registration and light breakfast 9:45 - 10 am Welcome Remarks James Appleyard, Chair of the Board of Trustees, Gardiner Museum 10 - 10:45 am Flights of Imagination: Claudius Innocentius du Paquier and the Tastes of his Patrons Dr. Claudia Lehner-Jobst, Independent Art Historian and Curator, Vienna This year we celebrate the 300th anniversary of the founding of Claudius Innocentius Du Paquier's private porcelain manufactory. Based on newly discovered objects, this lecture explores the connections of early Vienna porcelain with the tastes of its noble patrons at a time when the city was absorbing a Baroque international style and developing its distinctive character in a uniquely playful manner. Dr. Claudia Lehner-Jobst will explore the artistic and social vibrancy of the imperial city around 1718 through the eyes of the modellers and painters of Du Paquier, who created works for the elite—confident members of the cultural avant-garde—as well as fulfilling imperial orders of diplomatic gifts which charmed the tastes of their recipients. 10:45 - 11:30 am Porcelaine à la mode: The Eighteenth-Century Collections of the Baden Princesses Sebastian Kuhn, Bonhams, London The ruling family of Baden in southwestern Germany boasted three notable porcelain collectors in the eighteenth century: the Margravines Sibylla Augusta of Baden-Baden (1675-1733), Magdalena Wilhelmine of Baden-Durlach (1677-1742), and Karoline Luise of Baden-Durlach (1723-83). Whereas the first two collections were displayed in a Northern European Baroque manner, Karoline Luise—who inherited the collections of her forebears—perceived porcelain through the lens of the Enlightenment and had a more scientific approach to collecting. -
Deixis and the Renaissance Art of Self Construction1
1 Deixis and the renaissance art of self construction Sylvia ADAMSON University of Sheffield ABSTRACT This paper is offered as a contribution to our understanding of both the history of literary style and the psychology of reading. I begin with a comparison with art history, where the development of the technique of linear perspective provides a stylistic boundary-marker between medieval and renaissance styles. Identifying the ‘printed voice effect’ as an analogous demarcator in literary history, I explore the technical means by which the effect was created, in a set of case-studies representing the emergent genres of essay and dramatic lyric. My analytical model is adapted from Gombrich’s account of ‘guided projection,’ which explains pictorial illusion as the cooperative creation of the artist (who provides the visual cues) and the spectator (who interprets them). I argue that the literary equivalent to the geometric cues of perspective is to be found in the linguistic system of deixis and claim that renaissance texts show an innovative and experimental awareness of the deictic resources of the English language. KEYWORDS: deixis, renaissance, historicism, self in literature, language and style 1. The printed voice In the history of art forms, some stylistic innovations seem to demand the title revolutionary, if only because their effects are so striking as to be felt by the non-professional observer. In the western 1 I am grateful to the organisers of 15 SEDERI for inviting me to give the plenary on which this paper is based and to the conference participants for their helpful responses to my presentation. -
Planche Non Parquetée) 1 1000/1200 Signée Et Datée En Bas À Droite 50 X 40 Cm Porte Une Signature En Bas À Gauche R
Arts d’Orient et Orientalisme Millon 24 Mai 2017 – [email protected] - +33 1 47 27 76 71 Ecole Anglaise du début du XXème siècle Portrait de musicienne orientale Huile sur panneau (planche non parquetée) 1 1000/1200 signée et datée en bas à droite 50 x 40 cm Porte une signature en bas à gauche R. Wilson G SALMERON (Actif à la fin du XIXème siècle et au début du XXème siècle ) Portrait de femme orientale 2 Huile sur toile d'origine 1000/1200 71 x 57,5 cm Signé, dédicacé et annoté en bas à droite Al Sr Dr Léon Nouveau G Salmeron Murcia 5/96 Ecole FRANCAISE du XIXème siècle dans le goût de Louis DEVEDEUX 3 Enfants orientaux jouant 800/1200 Huile sur toile 62,5 x 81 cm Attribué à Amédée ROSIER (1831 - 1898) Vue d'Istanbul 4 Huile sur panneau une planche non parqueté 1500/2000 46 x 71 Trace de signature en bas à gauche A. R….. Arts d’Orient et Orientalisme Millon 24 Mai 2017 – [email protected] - +33 1 47 27 76 71 Gabriel CARELLI At Meydani, Istanbul Deux aquarelles sur papier, formant pendant 24 x 34,5 cm chaque à la vue Signées en bas à gauche et en bas à droite Gabriel Carelli et G Carelli Nos deux aquarelles montrent les vues assez rares du pavillon construit à la demande du Sultan Abdulaziz pour la seule et unique exposition universelle ottomane en 1863 ( Sergi- i-Umuni-i-Osmani). Cette exposition contemporaine de celle de Paris et de Londres était dédiée à la promotion de l’industrie et du commerce de l’Empire Ottoman. -
THE ANGLO-PORTUGUESE SOCIETY 70 Years of History (1938
Who we are The Anglo-Portuguese Society is a registered charity in England, 313589 governed by an Executive Committee, appointed by its members. Our Objectives: The objectives of the Society are: The education of the people of the United Kingdom about THE ANGLO-PORTUGUESE SOCIETY Portugal, its people and its culture; The relief from suffering of the people of Portugal and of the United Kingdom. 70 Years of History (1938 – 2008) By Carol Mason (Rankin) 2018 Reprint The Anglo-Portuguese Society 7-8 Great James Street London WC1N 3DF Tel: 0203 371 8767 Email: [email protected] Website: www.apsociety.co.uk THE ANGLO-PORTUGUESE SOCIETY – 70 years of history b) exhibitions, demonstrations and illustrations of the intellectual, artistic and economic life of Portugal; by Carol Mason (Rankin) c) lectures, conferences and functions. The first lecture took place on 26th January 1939 when the renowned historian In 1938 a group of business men in London with interests in Portugal planned and Portuguese scholar Professor Edgar Prestage addressed members. The a dinner in honour of the newly arrived Portuguese Ambassador , Dr. Armindo following month a Portuguese Fortnight took place in London with the active Monteiro. participation of the Society and in May that year a Library was started in the The affair held at The Dorchester Hotel on May 19th grew into a splendid Casa de Portugal. The outbreak of World War II obviously meant activities occasion, attended by over three hundred people with the Rt. Hon. Sir Francis were curtailed, but a luncheon was held at the Vintners Hall in July 1940 in Lindley presidingi. -
UNIVERSITY of CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early M
UNIVERSITY OF CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Sara Victoria Torres 2014 © Copyright by Sara Victoria Torres 2014 ABSTRACT OF THE DISSERTATION Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia by Sara Victoria Torres Doctor of Philosophy in English University of California, Los Angeles, 2014 Professor Christine Chism, Co-chair Professor Lowell Gallagher, Co-chair My dissertation, “Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia,” traces the legacy of dynastic internationalism in the fifteenth, sixteenth, and early-seventeenth centuries. I argue that the situated tactics of courtly literature use genealogical and geographical paradigms to redefine national sovereignty. Before the defeat of the Spanish Armada in 1588, before the divorce trials of Henry VIII and Catherine of Aragon in the 1530s, a rich and complex network of dynastic, economic, and political alliances existed between medieval England and the Iberian kingdoms. The marriages of John of Gaunt’s two daughters to the Castilian and Portuguese kings created a legacy of Anglo-Iberian cultural exchange ii that is evident in the literature and manuscript culture of both England and Iberia. Because England, Castile, and Portugal all saw the rise of new dynastic lines at the end of the fourteenth century, the subsequent literature produced at their courts is preoccupied with issues of genealogy, just rule, and political consent. Dynastic foundation narratives compensate for the uncertainties of succession by evoking the longue durée of national histories—of Trojan diaspora narratives, of Roman rule, of apostolic foundation—and situating them within universalizing historical modes. -
Catherine of Braganza and Catholic Books in Late Seventeenth-Century London
chapter 11 Royal Patronage of Illicit Print: Catherine of Braganza and Catholic Books in Late Seventeenth-Century London Chelsea Reutcke In 1662, the English Parliament passed An Act for preventing the frequent Abuses in printing.1 Among its many provisions, the act prohibited the print- ing or importation of any texts opposed to the Church of England, including books with Catholic content. Proscribed works were confiscated and either destroyed or ‘damasked’ (i.e., over-printed) for waste paper, while the printers and booksellers faced fines, confiscation of equipment and imprisonment.2 That same year, Catherine of Braganza, newly arrived in London, appointed Theodore Sadler as her bookseller-in-ordinary, instructing him to procure for her a list of Catholic devotional books.3 He submitted receipts to the excheq- uer for seven Roman breviaries, two psalters of Beata Maria hymns, a Roman missal, fifty ‘bookes for a night hearing of mass’ and an Iberian rubric.4 Even more books arrived from France.5 These orders served to set up Catherine’s Catholic chapel, which had been promised to her in her marriage contract to Charles II.6 Together with books ordered by Henrietta Maria, the Queen Mother, a significant number of Catholic books entered into these sanctioned Catholic spaces of London.7 1 ‘Charles II, 1662: An Act for preventing the frequent Abuses in printing seditious treasonable and unlicensed Bookes and Pamphlets and for regulating of Printing and Printing Presses’, in John Raithby (ed.), Statutes of the Realm (11 vols., s.l.: Great Britain Record Commission, 1819), V. 428–435. Hereafter 14 Car. -
With Portuguese Statues in the United States of America: João Rodrigues Cabrilho, Peter Francisco, and Catarina De Bragança
‘playing in the Dark’ with portuguese Statues in the united States of America: João Rodrigues Cabrilho, peter Francisco, and Catarina de Bragança reinAldo FrAncisco silvA* keywords: Portuguese American statues in the United States of America, Juan Rodriguez Cabrillo, Peter Francisco, Catherine of Braganza. palavras-chave: Estátuas luso-americanas nos Estados Unidos da América, João Rodrigues Cabrilho, Peter Francisco, Catarina de Bragança. As I have shown in chapter two, “Scientific Racism and the Origins of Anti-Portuguese Stereotypes” of Representations of the Portuguese in American Literature, representations of the Portuguese in American fiction are clearly predicated on prevailing theories of race in America at those times. As Eric J. Sundquist has claimed in To Wake the Nations: Race in the Making of American Literature, this former slaveholding country is one where “race remains very much at the center of […] experience.” (Sundquist, 1993: 17). It was simply impossible for the Portuguese not to be viewed through the lens of racial theories. Race and racism, Toni Morrison reminds us in Playing in the Dark: Whiteness and the Literary Imagination, are issues that literary critics have resisted addressing, as “silence and evasion have historically ruled literary discourse. Evasion has fostered another, substitute language in which the issues are encoded” (cf. Morrison, 1993: 9-10).1 Like Morrison, I also wish to “identify those moments when American literature was complicit in the fabrication of racism” (ibid.: 16). To achieve this goal one must, she rightly maintains, “avert the critical gaze from the racial object to the racial subject; from the described and imagined to the describers * Departamento de Línguas e Culturas da Universidade de Aveiro. -
The Royal Body Royal Holloway, University of London 2-‐4 April
The Royal Body Royal Holloway, University of London 2-4 April 2012 PROGRAMME Monday 2nd April 8.45-9.15: Registration and coffee 9.30-9.35: Introductions 9.35-10.45: Session 1 Plenary Lecture Philip Mansel [Chair: Maria Hayward, University of Southampton] Dressed to Rule: Dress and Monarchy from Louis XIV to Elizabeth II 10.45-11.10: Coffee 11.10-12.10: Session 2 Panel 2A: The physical body of queens: 17th and 18th century France and Sardinia [Chair: John MCCormaCk] Pascale Mormiche, l’Université de Cergy Pontoise PrinCesses and PreGnant Queens at the Court of Versailles in the seventeenth and eiGhteenth Centuries Federica Contu, University of Studies of Cagliari ReasoninG about the politiCal and the spiritual funCtion of the body. The case of Marie Clotilde of FranCe Queen of Sardinia. Panel 2B: The Effigial Body [Chair to be Confirmed] Lynsey McCulloch, Anglia Ruskin University The effiGial body: readinG a reliC of early modern monarchy Kosana Jovanovic, University of Rijeka, Croatia The Portable EffiGies Role in the Queens Funeral Ceremonies and Their ConneCtion with the KinG’s Two Bodies Theory. Panel 2C: Representing the Body: The case of Queen Victoria and King George V and VI [Chair to be Confirmed] Tracy Jane Anderson, University of Sussex ReGina Imperatrix: The royal and imperial bodies of Queen ViCtoria Ina Zweiniger-Bargielowska, University of Illinois (Chicago) Royal Death and LivinG Memorials: The Commemoration of George V and George VI Panel 2D: Memory and Commemoration: The Case of Henry VII [Chair to be Confimed] Christine Merie Fox, Royal Holloway, University of London Henry VII preparation for his memorial at Westminster Abbey Mark R. -
Anton Schulz, Porcelain Decorator at Du Paquier's Vienna Factory
Anton Schulz, porcelain decorator at Du Paquier's Vienna factory Autor(en): Hayward, John Objekttyp: Article Zeitschrift: Mitteilungsblatt / Freunde der Schweizer Keramik = Bulletin de la Société des Amis de la Céramique Suisse Band (Jahr): - (1954) Heft 29 PDF erstellt am: 24.09.2021 Persistenter Link: http://doi.org/10.5169/seals-394906 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Report on 1953/54 Sales of European Ceramics at Sotheby's, London by T. H. Clarke, London (Fig. 1-3) It was not an exciting Season on the whole because, although section the highest price was £ 350, paid for a Faenza Dish, prices remain high, there was a dwindling supply of important probably by the «Green Man» painter. -
Lot Description LOW Estimate HIGH Estimate 2000 Pair of French
LOW HIGH Lot Description Estimate Estimate Pair of French Samson covered urns, 19th century, each having a gilt knop surmounting 2000 the floral covered body on a white ground, underside with Samson mark, and Made In France, 14"h x 7.5"w $ 800 ‐ 1,200 Continental porcelain sculpture depicting a courting couple, depicted seated on a rock 2001 form, the lady with a wreath in her hands and a basket of flowers at her side, the gent bearing a rose, underside with underglaze blue crown mark, 8.5"h x 7.5"w $ 300 ‐ 500 (lot of 2) Continental porcelain two light boudoir lamps, each centered with a young 2002 couple bearing fruit, flanked with porcelain floral sprays continuing to the gilt two arms, the whole rising on a footed base, 12"h x 12"w $ 300 ‐ 500 2003 Royal Vienna porcelain partial gilt scenic charger, having a central scenic reserve depicting a well executed scene with King David, verso with underglaze beehive mark, 14"w $ 1,500 ‐ 2,500 Continental hand painted miniature porcelain plaque, depicting Queen Louise in the 2004 classic pose, plaque 3.5"h, overall 7.5"h x 7"w $ 300 ‐ 500 Continental Santos figure with polychrome decorated body, 18th Century, with remnants 2005 of early painted surface, rising on a wood frame terminating on the rectangular base, 19"h $ 800 ‐ 1,200 2006 Mid Century malachite bowl, having a brass rim, unsigned 2"h x 10"w $ 400 ‐ 600 2007 (lot of 2) Paolo Soleri bronze bells, largest 22"l $ 400 ‐ 600 2008 (lot of 2) Paolo Soleri bells, largest 25"l $ 500 ‐ 700 Twain, Mark: Celebrated Jumping Frog of Calaveras County, New York, Webb 1868, 2009 original green cloth, beveled edges, stamped in gilt, brown coated endpapers, lacking inserted advertisements, binding rubbed, otherwise fine condition $ 6,000 ‐ 9,000 2010 Jaeger Le Coultre Atmos clock in brass with glass paneled case, 9''h x 8''w x 6''d $ 300 ‐ 500 Needlework sampler, executed by Hannah Nutt, 1827, having a foliate decorated border surrounding the central panel decorated with a dog, a bird and flowers, the text reads 2011 "Our Saviours Golden Rule. -
Nigel Wood and Chris Doherty
Nigel Wood and Chris Doherty A Technological Examination of Some Chinese Ceramics Nigel Wood and Chris Doherty A Technological Examination of Some Chinese Ceramics our sherds from the Belitung wreck were the ninth-century wreck, although not all these 1 Mason and Tite 1994; Mason Fexamined for this study. Much of the ship’s Changsha wares may have been destined for the and Tite 1997. cargo came from China, probably from the great Middle East.2,3 2 Fleming et al. 1992; Ho trading city of Yangzhou in Jiangsu province, Chuimei and Bronson 1987. where ceramics were collected for export from 3 Allan 1991, 6–9; cf. also in this volume p. 356, 469. both north and south China, via the Grand Ca- Analytical techniques nal and the Yangzi River. The cargo appears to have been destined for the Middle East, either All four sherds were examined using a Cameca through direct sailing or through transhipment. SU30 scanning electron microscope (SEM) fit- The wreck dates from a time when imported ted with both Energy Dispersive and Wavelength Chinese wares transformed the course of Mid- Dispersive X-ray analysers (EDA and WDA). dle Eastern ceramic history. White porcelains Slips and bodies were examined using quantita- from north China in particular were imitated tive EDA, using a de-focussed beam, whilst WDA by Mesopotamian potters using pale calcareous was employed for point-analysis of the glazes. earthenware bodies, and glazes opacified by tin Typical operating conditions were 13Kv and oxide. Green- and white-glazed Chinese stone- 10na, with 200 seconds count time for EDA, 10 wares from both north and south China were seconds for WDA.