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Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Romeo and Juliet 2019-20 Study Guide
Romeo and Juliet 2019-20 Study Guide ABOUT THIS STUDY GUIDE The Colorado Shakespeare Festival will send actors to your school soon as part of a Shakespeare & Violence Prevention project. This study guide is a resource for you, whether you are an administra- tor, counselor, teacher, or student. Our program is most successful when schools have prepared in advance, so we encourage you to use this study guide to connect the material to your curriculum. Shakespeare offers a wonderful opportunity to explore meaningful questions, and we encourage you and your students to engage deeply with those questions. Study guide written and edited by Dr. Amanda Giguere, Dr. Heidi Schmidt, and Isabel Smith-Bernstein. ABOUT SHAKESPEARE & VIOLENCE PREVENTION The Colorado Shakespeare Festival partners with CU Boulder’s Center for the Study and Prevention of Violence (CSPV) and the Department of Theatre & Dance to create a touring program that in- creases awareness of Shakespeare and violence prevention. Our actors will visit your school to perform an abridged three-actor version of Romeo and Juliet that explores the cycle of violence, using research from the Center for the Study and Prevention of Violence. In this 45-minute performance, we draw parallels between Shakespeare’s world and our own. We recommend the performance for grades 6-12. Theatre is about teamwork, empathy, and change. When your students watch the play, they will observe mistreatment, cruelty, violence, and reconciliation. They’ll see examples of unhealthy and destructive relationships, as well as characters who become “upstanders”—people who make the choice to help. This play is intended to open up the dialogue about the cycle of violence and mis- treatment—and to remind us all that change is always possible. -
BENVOLIO but New Struck Nine. ROMEO Ay Me! Sad Hours Seem Long
BENVOLIO/ROMEO BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long. Was that my father that went hence so fast? BENVOLIO It was. What sadness lengthens Romeo's hours? ROMEO Not having that, which, having, makes them short. BENVOLIO In love? ROMEO Out-- BENVOLIO Of love? ROMEO Out of her favour, where I am in love. BENVOLIO Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof! ROMEO Alas, that love, whose view is muffled still, Should, without eyes, see pathways to his will! BENVOLIO Tell me in sadness, who is that you love. ROMEO What, shall I groan and tell thee? BENVOLIO Groan! why, no. But sadly tell me who. ROMEO In sadness, cousin, I do love a woman. BENVOLIO I aim'd so near, when I supposed you loved. ROMEO/JULIET ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers' sake. -
English Renaissance Dream Theory and Its Use in Shakespeare
THE RICE INSTITUTE ENGLISH RENAISSANCE DREAM THEORY MID ITS USE IN SHAKESPEARE By COMPTON REES, JUNIOR A THESIS SUBMITTED TO THE FACULTY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Houston, Texas April, 1958 TABLE OF CONTENTS Introduction .............. 1-3 Chapter I Psychological Background: Imagination and Sleep ............................... 4-27 Chapter II Internal Natural Dreams 28-62 Chapter III External Natural Dreams ................. 63-74 Chapter IV Supernatural Dreams ...................... 75-94 Chapter V Shakespeare’s Use of Dreams 95-111 Bibliography 112-115 INTRODUCTION This study deals specifically with dream theories that are recorded in English books published before 1616, the year of Shakespeare1s death, with a few notable exceptions such as Robert Burton’s Anatomy of Melancholy (1621). Though this thesis does not pretend to include all available material on this subject during Shakespeare*s time, yet I have attempted to utilise all significant material found in the prose writings of selected doctors, theologians, translated Latin writers, recognised Shakespeare sources (Holinshed, Plutarch), and other prose writers of the time? in a few poets; and in representative dramatists. Though some sources were not originally written during the Elizabethan period, such as classical translations and early poetry, my criterion has been that, if the work was published in English and was thus currently available, it may be justifiably included in this study. Most of the source material is found in prose, since this A medium is more suited than are imaginative poetry anl drama y:/h to the expository discussions of dreams. The imaginative drama I speak of here includes Shakespeare, of course. -
Shakes in Love STUDYGUIDE
Study Guide for Educators Based on the screenplay by Marc Norman and Tom Stoppard Adapted for the stage by Lee Hall Lyrics by Carolyn Leigh Music by Paddy Cunneen This production of Shakespeare In Love is generously sponsored by: Emily and Dene Hurlbert Linda Stafford Burrows Ron and Mary Nanning Ron Tindall, RN Shakespeare in Love is presented by special arrangement with Samuel French Inc 1 Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to the Pacific Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance. -
Cinematic Hamlet Arose from Two Convictions
INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films. -
9.1.3 Lesson 9
NYS Common Core ELA & Literacy Curriculum Grade 9 • Module 1 • Unit 3 • Lesson 9 9.1.3 Lesson 9 Introduction In this lesson, students read and analyze William Shakespeare's Romeo and Juliet, Act 3.1, lines 59–110 (from “Romeo, the love I bear thee can afford” to “I have it, and soundly too. Your houses!”). In this excerpt, a fight breaks out between Mercutio and Tybalt after Tybalt insults Romeo, and Mercutio is killed. Students work in pairs to explore how Shakespeare develops Romeo’s character through his interactions with Tybalt and Mercutio. Prior to reading, students view a clip of Baz Luhrmann’s Romeo + Juliet, depicting the marriage of Romeo and Juliet. Student learning is assessed via a Quick Write at the end of the lesson: How does Shakespeare develop Romeo’s character through his interactions with Tybalt and Mercutio? For homework, students continue their Accountable Independent Reading (AIR) and write a brief response to the question: “Who is responsible for Mercutio’s death?” Standards Assessed Standard(s) RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. Addressed Standard(s) L.9-10.4.a, Determine or clarify the meaning of unknown and multiple-meaning words and b, c phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase. -
Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas. Lise Brandt Pedersen Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pedersen, Lise Brandt, "Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas." (1971). LSU Historical Dissertations and Theses. 2159. https://digitalcommons.lsu.edu/gradschool_disstheses/2159 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. I I 72- 17,797 PEDERSEN, Lise Brandt, 1926- SHAVIAN .SHAKESPEARE:' SHAW'S USE AND TRANSFORMATION OF SHAKESPEAREAN MATERIALS IN HIS DRAMAS. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, modern University Microfilms, XEROXA Company, Ann Arbor, Michigan tT,TITn ^TnoT.r.a.A'TTAItf U4C PPPM MT PROPTT.MF'n FVAOTT.V AR RECEI VE D SHAVIAN SHAKESPEARE: SHAW'S USE AND TRANSFORMATION OF SHAKESPEAREAN MATERIALS IN HIS DRAMAS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Lise Brandt Pedersen B.A., Tulane University, 1952 M.A., Louisiana State University, 1963 December, 1971 ACKNOWLEDGMENT I wish to thank Dr. -
Shakespeare and the Friars
38 DOMINICAN A to obtain pea.ce for Europe, could prayers, saluting Mary with a She refuse to hear the voice of single heart and with a single the whole Catholic world on its voice, imploring Mary, placing knees? Let us be as one, with all hope in Mary!'' It is with the Holy Father of the faithful this unanimous prayer that Cath in prayer, Mary's own prayer, and olics will obtain the return to strive to sprea.d it. "How ad Christ of the nations that are mirable it will be to see in the astray, the salvation of the world cities, in the towns, and in the and that peace so eagerly desired. villages, on hnd and on sea, as far Mary, the Dove of Peace, offers as the Catholic name extends, the Olive Branch-Her Rosary. hundreds of thousands of the Will the world accept it? faithful, uniting their praises and Aquinas McDonnell, 0. P. SHAKESPEARE AND THE FRIARS. "The thousand souled Shake is his portrayal of it. His name speare" is an epitath bestowed is em blazoned far aboye all other on the master writer of the most English writers. He is praised momentous epoch in the history and lauded by all nations and of the literary world. Thousand why? Because no one equals souled is Shakespeare. No one him in creative power of mind, is more deserving of such a title. in vividness of imagination, in His genius is bounded by no richness of imagery. No one country. He is of no age. He equals him in his comprehFmsion is uni-r ersal. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
Mayjune 2005 Social Ed.Indd
Social Education 69(4), pp. 189-192 © 2005 National Council for the Social Studies Reel to Real: Teaching the Twentieth Century with Classic Hollywood Films Karl A. Matz and Lori L. Pingatore Making students’ learning cal artifacts, virtually primary source docu- works to support all three. At work, Bow experiences as direct and real as possible ments, that are very easy to obtain and yet has caught the eye of a wealthy young man, has always been challenging for educators. are too rarely used. Here, we hope to give a friend of the store owner’s son. In this Ancient wars and forgotten statesmen teachers a sense of which films are most brief beginning to a feature length film, often hold little excitement for students. appropriate and to provide a workable viewers see three important locations as Innovative teachers often use artifacts and method for guiding students to critically they were in the late 1920s. We see the primary source documents to transform a examine these historical artifacts. downtown department store, so different vicarious learning experience to a much from the suburban malls we know today. more direct one. Lee Ann Potter observes Celluloid Anthropology We see the humble apartment, the decora- that primary source documents “allow us, Students can study films in a manner simi- tions, and the absence of technology. And, quite literally, to touch and connect with lar to the way an anthropologist studies a finally, we see the restaurant. the past.”1 culture. If we were to study the culture of While watching this film, as any Films, like artifacts and photographs, a community in the Brazilian rainforest, other movie of a different era, viewers can also bring students closer to the people we would observe social rules, modes of can observe manners and behaviors, note and events that they are studying.