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Births, Marriages, and Deaths
DEC. 31, 1955 MEDICAL NEWS MEDICALBRrsIJOURNAL. 1631 Lead Glazes.-For some years now the pottery industry British Journal of Ophthalmology.-The new issue (Vol. 19, has been forbidden to use any but leadless or "low- No. 12) is now available. The contents include: solubility" glazes, because of the risk of lead poisoning. EXPERIENCE IN CLINIcAL EXAMINATION OP CORNEAL SENsITiVrry. CORNEAL SENSITIVITY AND THE NASO-LACRIMAL REFLEX AFTER RETROBULBAR However, in some teaching establishments raw lead glazes or ANAES rHESIA. Jorn Boberg-Ans. glazes containing a high percentage of soluble lead are still UVEITIS. A CLINICAL AND STATISTICAL SURVEY. George Bennett. INVESTIGATION OF THE CARBONIC ANHYDRASE CONTENT OF THE CORNEA OF used. The Ministry of Education has now issued a memo- THE RABBIT. J. Gloster. randum to local education authorities and school governors HYALURONIDASE IN OCULAR TISSUES. I. SENSITIVE BIOLOGICAL ASSAY FOR SMALL CONCENTRATIONS OF HYALURONIDASE. CT. Mayer. (No. 517, dated November 9, 1955) with the object of INCLUSION BODIES IN TRACHOMA. A. J. Dark. restricting the use of raw lead glazes in such schools. The TETRACYCLINE IN TRACHOMA. L. P. Agarwal and S. R. K. Malik. APPL IANCES: SIMPLE PUPILLOMETER. A. Arnaud Reid. memorandum also includes a list of precautions to be ob- LARGE CONCAVE MIRROR FOR INDIRECT OPHTHALMOSCOPY. H. Neame. served when handling potentially dangerous glazes. Issued monthly; annual subscription £4 4s.; single copy Awards for Research on Ageing.-Candidates wishing to 8s. 6d.; obtainable from the Publishing Manager, B.M.A. House, enter for the 1955-6 Ciba Foundation Awards for research Tavistock Square, London, W.C.1. -
The Trinity Review, May 1948
Trinity College Trinity College Digital Repository Trinity Publications (Newspapers, Yearbooks, Trinity Review (1939 - 1980) Catalogs, etc.) 5-1-1948 The Trinity Review, May 1948 Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/review Recommended Citation Trinity College, "The Trinity Review, May 1948" (1948). Trinity Review (1939 - 1980). 11. https://digitalrepository.trincoll.edu/review/11 This Article is brought to you for free and open access by the Trinity Publications (Newspapers, Yearbooks, Catalogs, etc.) at Trinity College Digital Repository. It has been accepted for inclusion in Trinity Review (1939 - 1980) by an authorized administrator of Trinity College Digital Repository. The Trinity Review Volume II May, 1948 Number 3 EDITORIAL BOARD THOMAS C. F. LOWRY Editor-in-Chief HARRY M. BRACKEN F. ScoTT BILLYOU Executive Editor Business Manager STANLEY F. RODGERS GEORGE W. STOWE Art Editor Circulation Manager LEONARD c. OVERTON FRANK LAMBERT, }R. ]OHN w. COOTE RoBERT M. BLUM EDWARD R . PARONE ROBERT W. HERBERT APOLOGIA The third number of this volume of the Review is ap pearing on the wee~end designated by the college as com memorative of its one hundred and twenty-fifth anniversary. It is a happy coincidence that such a celebration should be in order at the time of the Review's evident emergence from the ran~s of embryonic underta~ings to those com prised of established and vital institutions. The newly instituted editorial board wishes at this time to pledge itself to the maintenance and furthering of the literary ideals so well defined by the previous editors. A special debt of gratitude is owed to Harold W. -
Colby Alumnus Vol. 64, No. 2: Winter 1975
Colby College Digital Commons @ Colby Colby Alumnus Colby College Archives 1975 Colby Alumnus Vol. 64, No. 2: Winter 1975 Colby College Follow this and additional works at: https://digitalcommons.colby.edu/alumnus Part of the Higher Education Commons Recommended Citation Colby College, "Colby Alumnus Vol. 64, No. 2: Winter 1975" (1975). Colby Alumnus. 86. https://digitalcommons.colby.edu/alumnus/86 This Other is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Alumnus by an authorized administrator of Digital Commons @ Colby. "") - -� � :O:-'-! . .. - ---� � ) =-.::-� -=---��-- ) :..:... • _ _I._ --�- -- - .. - - - . - .. ...:-.:.- .· :;:- . ... z· > - ' . they be regarded with an appropriate dignity, and The President's Page taken seriously, during the years of residence. The president of a prominent college in another part of the country wrote an article during some of the more difficult years on the campuses entitled "How to Sur vive Though Surrounded by Students," or something like that. His first and most important word of advice was "Listen to them." It did not take two Constitutional Conventions to convince most of us on the faculty and in the admin istration that students ought to be listened to. Let me enumerate some of the ways in which students are listened to at Colby, and let me emphasize that what they have to say is taken seriously. Each year two students are elected by their fellows to be representatives to the board of trustees. They do not vote, but neither do the two faculty representa tives. They do, however, have the full privilege of the floor, and they receive all the written materials and hear all the discussions that full voting trustees have FEW OBSERVATIONS ARE IN ORDER WITH REGARD TO access to. -
Aristophanes' Lysistrata Today
DIDASKALIA 9 (2012 ) 1 Risk-taking and Transgression: Aristophanes' Lysistrata Today Michael Ewans! The University of Newcastle Robert Phiddian! Flinders University Lysistrata, first performed in 411 BCE, is an Old Comedy about a fictional sex strike by the women of Greece designed to stop the Peloponnesian War. At a dark moment, when defeat appeared to be looming for Athens, the play provided a fantasy of peace. In recent decades it has been the most often revived and taught of Aristophanes’ plays, with 119 performances worldwide in the years 1990–2010, according to the Archive of Performances of Greek and Roman Drama.1 This piece, a collaboration between a translator and theatre researcher (Michael Ewans) and a Greekless literary scholar (Robert Phiddian), recounts a small part of that performance history, a part that sheds light on how this play translates (both literally and culturally) from fifth-century Athens to twenty-first-century Australia. The performances examined are a full-scale production designed to test and perfect Ewans’s new translation of the play at the University of Newcastle (New South Wales) in 2005, and a series of dramatised readings of the play (in the context of a course on comedy and satire) performed at Flinders University in Adelaide between 1998 and 2009, initially with Alan Sommerstein’s translations published by Penguin and subsequently with Ewans’s translation. Lysistrata remains popular not just because it is good, but also because it remains topically significant for its antiwar message and the apparently feminist premise of women taking over public affairs.2 These causes of popularity are potentially a two-edged sword for understanding the play, as relevance can be bought at the price of anachronism and distortion of meaning. -
The Eagle 1952 (Easter)
THE EAGLE vi :Jv1agazine SUPPORTED BY MEMBERS OF Sf John's College ! IU, Joh. Ooli. Lib. Oa.rob, VOLUME LV, Nos. 240 241 & PRINTED A T THE UNIVERSITY PRESS FOR SUBSCRIBERS ONLY MCMLII CONTENTS PACE The Master I Emest Alfred Benians: Master 1933-52 4 13 February 1952 10 Cambridge in the last Half Century II EDITORIAL COMMITTEE The Commemoration Sermon 23 GOLDSMITH B. G. CARTLEDGE, C. C. Three Poems: Allegory, Soliloquy, Harvest Home 27 Mr BAMBROUGH (Editor), (Treasurer), J. P. SULLlVAN, (Secretary), Mr HINDE, Mr HINSLEY Impressions of Greece: Summer, 1951 29 MrWA'fT. be sent Poem: Sea Crossing issue of the Magazine should 32 All contributions for the next College, by 1 December 1952. Editors, The Eagle, St John's Poem: She . 32 to The Notes, assistance in making the College The Editors will welcome as possible of the Poem: Butterfly 33 generally, as complete a record and the Magazine or They will welcome books members of the College. Pots Errant . 33 careers of and and its members for review; dealing with the College articles notice. "Resurrection" and "On ne badine pas avec l'amour" 3 of the College for shorter 4 books published by members "Epicene" . 36 College Chronicle 39 College Notes 71 Obituary: Edward Earle Raven 82 George Udny Yule. 89 Book Reviews 98 College Awards 102 Illustrations: The Master Frontisp iece Ernest Alfred Benians facing p. 4 Edward Earle Raven " 82 George Udny Yule . 89 " rH.E EAGLE F� ��������������������������� ���� Nos. 240 &1 241 �� ��������������������������� ���� THE MASTER AMES MANN WORDIE is sixty-three and a loyal Scot. -
John Gassner
John Gassner: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Gassner, John, 1903-1967 Title: John Gassner Papers Dates: 1894-1983 (bulk 1950-1967), undated Extent: 151 document boxes, 3 oversize boxes (65.51 linear feet), 22 galley folders (gf), 2 oversize folders (osf) Abstract: The papers of the Hungarian-born American theatre historian, critic, educator, and anthologist John Gassner contain manuscripts for numerous works, extensive correspondence, career and personal papers, research materials, and works by others, forming a notable record of Gassner’s contributions to theatre history. Call Number: Manuscript Collection MS-54109 Language: Chiefly English, with materials also in Dutch, French, German, Greek, Hebrew, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, and Turkish Access: Open for research Administrative Information Acquisition: Purchases and gifts, 1965-1986 (R2803, R3806, R6629, G436, G1774, G2780) Processed by: Joan Sibley and Amanda Reyes, 2017 Note: The Ransom Center gratefully acknowledges the assistance of the Gladys Krieble Delmas Foundation, which provided funds to support the processing and cataloging of this collection. Repository: The University of Texas at Austin, Harry Ransom Center Gassner, John, 1903-1967 Manuscript Collection MS-54109 Biographical Sketch John Gassner was a noted theatre critic, writer, and editor, a respected anthologist, and an esteemed professor of drama. He was born Jeno Waldhorn Gassner on January 30, 1903, in Máramarossziget, Hungary, and his family emigrated to the United States in 1911. He showed an early interest in theatre, appearing in a school production of Shakespeare’s The Tempest in 1915. Gassner attended Dewitt Clinton High School in New York City and was a supporter of socialism during this era. -
LYSISTRATA Animation Transcript
LYSISTRATA Animation Transcript Timecode Script 00:00:00 Title Plate LYSISTRATA by ARISTOPHANES 00:00:04 To put an end to the Peloponnesian war, Lysistrata persuades women from all over Greece to go on a sex strike until the men agree to make peace. 00:00:15 Lysistrata hatches a plan with the older women to seize control of the Acropolis, where the city treasury is kept. 00:00:22 The men attempt to smoke the women out of the Acropolis but the women extinguish the fires and triumphantly drench the men. 00:00:31 When a magistrate, a proboulos, arrives to retrieve funds for the war Lysistrata berates him about the losses that the women have been forced to bear. 00:00:38 Text Card Women have to take on more than twice your burden. Firstly it’s us giving birth to children, then we send them off as soldiers. 00:00:49 The women dress the magistrate up in their clothes, and send him away humiliated. 00:00:57 As the strike continues the sex-starved men of Greece become increasingly desperate. 00:01:04 A Spartan Herald approaches the Acropolis and finds the magistrate outside. He explains the desperate situation of his countrymen and they both agree that a treaty is required. 00:01:18 Delegations from Athens and Sparta meet to discuss the treaty. Lysistrata appears with her naked handmaid, Peace. The men’s eyes are fixated on Peace as Lysistrata chastises them for treating each other so badly and reminds them that they previously helped one another. -
Sewanee Alumni News, 1949
ALUMNI NEWS A Sports History OF Wi\t Hntoersitg of the 3outh BEING A Statistical Compilation of all Inter-Collegiate Athletic Contests in which Sewanee Teams have participated, together with the Names of all Sewanee Athletes. 1875-1948 THE UNIVERSITY OF THE SOUTH SEWANEE, TENNESSEE fol. XV, No. i February 15, 1949 (§ewanee ^Alumni V\(ews THE ASSOCIATED ALUMNI Officers Charles McD. Puckette, '07. .President Sjewamee Alumni News, issued quarterly by the John B. Greer, '08 1st Vice-Pres. Associated Alumni of The University of the ^outh. at Sewanee. Tennessee. Entered as second- Edmund C. Armes, '13 ..2nd Vice-Pres. class matter May 25. 1954.. at the postoffice ar Se- Coleman A. Harwell, '26_3rd Vice-Pres. wanee. Tenn.. under the Act of March 3. 1879. Rev. Lee A. Belford, '35 . -Rec. Sec'y '35 FEBRUARY 15, 1949 Douglas L. Vaughan, Treasurer Arthur Ben Chitty, '35. .Alumni Sec'y t Member American Alumni Council and Editor, Alumni News CONTENTS Introduction: Sports at Sewanee by James Gregg, Jr 3 Sewanee Football Statistics: Dates and Scores of All Games 7 Summary of All Games by Seasons 12 Summary of Records Against College Teams 13 Lettermen in Football: Names of Coaches, Managers, Players 14 Principal Scoring Plays: Runs, Passes, Field Goals 21 Sewanee Ail-Time Football Team: All-Star Selections . 25 Basketball Statistics: Scores of All Games, Lettermen 27 Baseball Statistics: All Recorded Scores, Lettermen 29 Track Records, Meets, and Teams 33 Tennis Records, Meets, and Lettermen 37 Golf Meets and Lettermen 39 Iron Men of Sewanee: The Team of 1899 40 ATHLETIC STAFF— 1948-49 Gordon M. -
Lysistrata: the Ritual Logic of the Sex-Strike
Lysistrata: the Ritual Logic of the Sex-strike by Camilla Power (Lecturer in Anthropology, University of East London) Aristophanes, born about 450BC, was at the height of his powers during the Peloponnesian War between Athens and Sparta. His three comedies of sexual subversion — Λυσιστρατη (Lysistrata), Θεσµoφoριαζoυσαι (Thesmophoriazusai) and ’Εκκλησιαζoυσαι (Ekklesiazusai) — are the remaining examples of what may have been a traditional ‘feminist’ or gynocratic theme in Old Athenian Comedy. In this paper I intend to show, with particular reference to Lysistrata, that there is a ritual logic inherent in the structure of these plays, and in the myths, rites and cults to which they allude. Such logic, I would suggest, is derived from a very ancient template, the influence of which persisted in Greek women's ritual culture down to Aristophanes' time. The theme – Γυvαικoκρατια The idea of women performing roles of men, i.e. taking part in the business of the πoλις (polis) as opposed to that of the ’oικoς (oikos), the sphere of domestic management, seems to have been inherently comic to the Greek citizen of Aristophanes' Athens. The only public sphere of activity open to women was ritual and sacerdotal. That the male audience's laughter would have been, to an extent, a nervous release, chanelling anxieties about male status, can be deduced from the traditional theme of γυvαικoκρατια — rule of women — in Greek myth and art. We have, for example, the battles fought with the Amazons at the heart of Athens celebrated in the Parthenon friezes — in na, a goddess herself Amazon at heart; the myths of theεthe temple of Ath Danaids, and of the Lemnian women, archetypal figures of female rebellion, indeed of sex-strike. -
Greek Drama As Feminist Window on American Identity 1900-1925
Pre-print version of article forthcoming in K. Bosher, F. Macintosh, J. McConnell and Patrice Rankine (eds. 2014) The Oxford Handbook to Greek Drama in the Americas The Migrant Muse: Greek Drama as Feminist Window on American Identity 1900-1925 Edith Hall (KCL) The Quest for a New Muse Just before the academic rediscovery of ancient Greek drama in performance in the 1880s, Walt Whitman appealed for a new form of poetry to replace worn-out classicism, in ‘Song of the exposition’ (1871): Come, Muse, migrate from Greece and Ionia; Cross out, please, those immensely overpaid accounts. That matter of Troy, and Achilles’ wrath, and Eneas’, Odysseus’ wanderings; Place ‘Removed’ and ‘To Let’ on the rocks of your snowy Parnassus... For know a better, fresher, busier sphere – a wide, untried domain, awaits, demands you. But what, precisely, would be the nature of the Muse’s fresher, busier, untried North American domain? If she was to migrate from Greece and Ionia, how was she to adapt herself to a new destination far from her original home? This chapter looks at some ways in which American Modernist feminists used the Muse of Greek drama in the reconfiguration of American identity. Fifty years later, on July 7th 1921, Calvin Coolidge, Vice-President of the USA, addressed the American Classical League at UP in Philadelphia. Despite the tumultuous history 1 Pre-print version of article forthcoming in K. Bosher, F. Macintosh, J. McConnell and Patrice Rankine (eds. 2014) The Oxford Handbook to Greek Drama in the Americas of the intervening decades, he still defended the American tradition of classical education, even while confessing his desire for a distinctively American identity: We do not wish to be Greek. -
Viewpoint That Fifth- Century B.C.E
University of Alberta From Elite to Inclusive: Lysistrata and Gender, Democracy, and War by Giorgia Cinzia Severini A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Drama ©Giorgia Cinzia Severini Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Examining Committee Dr. John A. Hawkins, Drama Dr. Rosalind Kerr, Drama Dr. Selina Stewart, History and Classics Abstract Aristophanes’ comedy Lysistrata has been a favorite choice for anti-war activists since its first production in Athens in 411 B.C.E. as a response to the Peloponnesian War. In 2003, Lysistrata was chosen for the Lysistrata Project, a global theatrical protest against the United States’ planned invasion of Iraq. The Project was created in New York City but grew to involve participants from 59 countries. In this thesis, I examine Lysistrata in its original context of the Peloponnesian War, then I move on to the Lysistrata Project in the context of American democracy and modern Greece. -
LYSISTRATA by LAURA FACCIPONTI
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF ARISTOPHANES’S LYSISTRATA By LAURA FACCIPONTI SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of Aristophanes’s Lysistrata 2 INTRODUCTION ADULT THEMES Classic Greek comedies are frequently bawdy, using physical humor, puns, and sexually explicit language. Lysistrata, due to its subject matter, is one of the most sexually focused comedies of its time. Therefore, educators should be aware that the play and this study guide contain adult themes and language. The play refers to various men exposing erections (traditionally men wore leather phalluses for this effect), and the dialogue exchanged between characters has numerous puns on the men’s physical condition. The play also contains scenes with nudity, sexual interactions, and seduction. Although the play has significant historic and literary value, it should be taught only to mature high school, junior college, and college/university students. High school teachers should follow all the steps prescribed by their school for approval of controversial subjects. Students and parents, when appropriate, should be aware of the sexually explicit nature of the play prior to reading or viewing. Alternative selections should be available. PLOT SYNOPSIS Simply stated, the plot of Lysistrata depicts Athenian women who are fed up with the Peloponnesian War, so they barricade themselves in the Akropolis. They orchestrate a sex strike in order to force their husbands to vote for peace with Sparta. The play’s action occurs on a street in Athens in front of a gate to the Akropolis, which looms in the background.