The Duchess of Malfi
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The Dodo and Its Kindred
4ti € Kl 4;fii,v Cd 4 S C tx • V V (1 (^ S <^' « ^C i>i» <rr*i. C'^'^ ^ ^ r<rv I' c(t ^*^ CM Jl^ljf ..r.f -I- i,t C Cffi'l <Vi cr- die C^J^ V:? i^''» ^^» :^^ ^ 2--,// \rrC /^fL /" v/ V y^£,x^- y.^c.^>-^ x)c^ 7 /OH THE DODO AND ITS KINDRED. .a pq 4^ '+2 q-io CD O PHr-H '^cn CO o CO o —: ff^-' THE DODO AND ITS KINDRED; HISTORY, AFFINITIES, AND OSTEOLOGY DODO, SOLITAIRE, OTHER EXTINCT BIRDS or THE ISLANDS MAUKITIUS, KODRIGUEZ, AND BOURBON. ^^-^ H. E. STRICKLAND, M.A., F.G.S., F.R.G.S., PRESIDENT OF THE ASHMOLEAN SOCIETY, &c., A '-X > U^'^^' A. G. MELVILLE, M.D. Edin., M.R.C.S. "Pes et Caput uni Eeddentur fornije." Hor. LONDON EEEVE, BENHAM, AND KEEVE, 8, KING WILLIAM STEEET, STEAND. 1848. REEVE, BE?iHAM. AND REEVE. PRINTERS A:<D publishers OF SCIENTIFIC WORKS, KING WILLIAM STREET, STRAND, TO P. B. DUNCAN, ESQ., M.A., KEEPER OF THE ASHMOLEAN MUSEUM, Cftig seaorfe IS! fingcnbrli, AS A SLIGHT TOKEN OF REGARD AND ESTEEM, BY HIS SINCERE FRIENDS, THE AUTHORS. ilist Of ^ubsrrtbfrs. H.R.H. PRINCE ALBEET, K.G. HEll GRACE THE DUCHESS OF BUCCLEUCH (two copies). THE MOST NOBLE THE MARQUIS OF NORTHAMPTON, Pres. Brit. Assoc, Pres. R.S. THE RIGHT HON. THE EARL OF DERBY, Pres. Z.S., F.R.S. The Eadcliffe Library, Oxford. Mrs. Dixon, Govan HUl, Glasgow. The Belfast Library. Mrs. A. Smith, Edinburgh. The Edinburgh College Library. Mrs. C. Clarke, Matlock. -
The RSC Duchess of Malfi
Theatre of Blood: The RSC Duchess of Malfi by Erin E. Kelly. Published in 2018 Issue 1. For the production: The Duchess of Malfi (2018, Swan Theatre, Royal Shakespeare Company). Performance attended: 2018-04-11. See production details at the end of the review. RATHER THAN OPENING WITH THE PLAY’S DIALOGUE BETWEEN ANTONIO (PAUL WOODSON) AND HIS friend Delio (Greg Barnett), an exchange that establishes the contrast between the noble French court and the corrupt Italian political scene, Mari Aberg’s The Duchess of Malfi begins with the title character pulling across the thrust stage a life-sized, stylized animal carcass. (I believe this was meant to be a steer, but others have described it as a bull, a pig, or as a fictional animal. Not being a large-animal veterinarian, I will not claim my species identification is definitive.) Figure 1. Joan Iyiola as The Duchess and the Company. Photo by Helen Maybanks. Copyright Royal Shakespeare Company. Her stage action was presumably meant to foreshadow the myriad ways in which this female character would find herself in a world where she is oppressed by the masculine forces of her DOI: 10.18357/sremd01201819086 Scene. University of Victoria. 2018 Issue 1. 1 Swan Theatre–—Duchess of Malfi Erin E. Kelly dead first husband, her scheming brothers, and the patriarchy’s standards for feminine virtue. By the production’s end, however, I wondered whether we had more accurately been signaled that all involved in the production—including the audience—would be weighed down by unnecessary difficulties. Figure 2. Joan Iyiola as The Duchess. -
The Duchess of Malfi Announced
Press release: Thursday 12 September The Almeida Theatre announces Associate Director Rebecca Frecknall’s new production of John Webster’s revenge tragedy The Duchess of Malfi, with Lydia Wilson in the title role. The production opens on Tuesday 10 December 2019, with previews from Monday 2 December, and runs until Saturday 18 January 2020. It follows Frecknall’s previously acclaimed Almeida productions of Three Sisters and the Olivier Award-winning Summer and Smoke. THE DUCHESS OF MALFI by John Webster Direction: Rebecca Frecknall; Design: Chloe Lamford; Costume: Nicky Gillibrand; Light: Jack Knowles; Sound: George Dennis Cast includes: Lydia Wilson. Monday 2 December 2019 – Saturday 18 January 2020 Press night: Tuesday 10 December 7pm “Whether we fall by ambition, blood or lust Like diamonds, we are cut with our own dust” You fall in love. You get married. You have children. You live happily ever after. Almeida Associate Director Rebecca Frecknall follows her Olivier Award-winning production of Summer and Smoke and Three Sisters with The Duchess of Malfi, John Webster’s electrifying revenge tragedy about rage, resistance and a deadly lust for power. John Webster (1580 – 1634) was an English dramatist and contemporary of William Shakespeare, best known for his tragedies The White Devil and The Duchess of Malfi. Rebecca Frecknall is Associate Director at the Almeida Theatre. For the Almeida, she has directed Three Sisters, Summer and Smoke (also West End and winner of two Olivier Awards including Best Revival) and worked as Associate Director on Ink at the Almeida/Duke of York’s Theatre and Movement Director on Albion. -
Hoof Quality of Anglo-Arabian and Haflinger Horses
J Vet Res 61, 367-373, 2017 DE DE GRUYTER OPEN DOI:10.1515/jvetres-2017-0049 G Hoof quality of Anglo-Arabian and Haflinger horses Roberto Tocci, Clara Sargentini, Andrea Martini, Luisa Andrenelli, Antonio Pezzati, Doria Benvenuti, Alessandro Giorgetti Department of Agrifood Production and Environmental Sciences – Animal Science Section University of Florence, 50144 Florence, Italy [email protected] Received: April 20, 2017 Accepted: August 18, 2017 Abstract Introduction: Foot quality is essential to the horse’s movement. The barefoot approach favours the animal’s welfare. Environment and selection determine hoof characteristics. Material and Methods: Hoof characteristics of eight Anglo-Arabian (AA) and nine Haflinger (HA) horses were studied. After a preliminary visual analysis of feet, nail samples were collected after trimming for physico-chemical analysis. The parameters were submitted to analysis of variance. A principal component analysis and a Pearson correlation were used to compare mineral contents. Results: The hooves of both breeds were healthy and solid. The hooves of HA horses were longer than those of AA horses (14.90 ±0.30 cm vs 13.10 ±0.60 cm), while the AA hoof was harder than the HA hoof both in the wall (74.55 ±2.95 H vs 60.18 ±2.67 H) and sole (67.00 ±5.87 H vs 43.0 ±4.76 H). In comparison with the sole, the AA hoof wall also had a lower moisture percentage (12.56 ±0.67% vs 20.64 ±0.76%), while crude protein and ash contents were similar in both regions. The AA hoof showed a higher Se content, while the HA hoof had a higher level of macroelements. -
Italian Perspectives on Late Tudor and Early Stuart Theatre
Early Theatre 8.2 Issues in Review Richard Allen Cave Italian Perspectives on Late Tudor and Early Stuart Theatre The general focus of art exhibitions in Italy has changed significantly in recent years; the objective of this essay is to outline how such a change holds considerable value for the historian of early modern theatre and demonstrates innovative potential for the dissemination of theatre scholarship. Nowadays galleries offer fewer blockbuster retrospectives of the collected works of the painters who constitute the canon; such retrospectives were designed to be seen in a calculated isolation so that viewers might contemplate aesthetic issues concerning ‘development’. This style of exhibition now tends to travel to London, Washington, Boston, Tokyo, so that masterpieces now in the collec- tions of major international galleries may be seen in relation to less familiar work from the ‘source’ country (chiefly, one suspects, to have that status of masterpiece substantiated and celebrated). An older style of exhibition in Italy, which centred less on the individual painter and more on genres, has returned but in a markedly new guise. Most art forms in the early modern period were dependent on patronage, initially the Church, subsequently as an expression of princely magnificence. Some Italian artists were associated with a particular dynasty and its palaces; others were sought after, seduced to travel and carry innovation with them into new settings. The new style of exhibition celebrates dynastic heritage: the Gonzaga at Mantua (2002); Lucrezia Borgia’s circle at Ferrara (2002); le delle Rovere at Urbino, Pesaro, Senigallia, Urbania (2004). As is indicated by this last exhibition, the sites have shifted from traditional galleries into the places where each dynasty flourished, often as in the case of the delle Rovere being held in a variety of palatial homes favoured by the family 109 110 Richard Allen Cave as their seats of power and of leisure. -
Pesher and Hypomnema
Pesher and Hypomnema Pieter B. Hartog - 978-90-04-35420-3 Downloaded from Brill.com12/17/2020 07:36:03PM via free access Studies on the Texts of the Desert of Judah Edited by George J. Brooke Associate Editors Eibert J.C. Tigchelaar Jonathan Ben-Dov Alison Schofield VOLUME 121 The titles published in this series are listed at brill.com/stdj Pieter B. Hartog - 978-90-04-35420-3 Downloaded from Brill.com12/17/2020 07:36:03PM via free access Pesher and Hypomnema A Comparison of Two Commentary Traditions from the Hellenistic-Roman Period By Pieter B. Hartog LEIDEN | BOSTON Pieter B. Hartog - 978-90-04-35420-3 Downloaded from Brill.com12/17/2020 07:36:03PM via free access This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Library of Congress Cataloging-in-Publication Data Names: Hartog, Pieter B, author. Title: Pesher and hypomnema : a comparison of two commentary traditions from the Hellenistic-Roman period / by Pieter B. Hartog. Description: Leiden ; Boston : Brill, [2017] | Series: Studies on the texts of the Desert of Judah ; volume 121 | Includes bibliographical references and index. -
An Investigation Into the Use of Hoof Balance Metrics to Test the Reliability of a Commonly Used Foot Trimming Protocol and Their Association with Biomechanics And
An investigation into the use of hoof balance metrics to test the reliability of a commonly used foot trimming protocol and their association with biomechanics and pathologies of the equine digit. Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy By Mark Nathan Caldwell F.W.C.F. 17th November 2017 i Abstract The equine foot has a specific conformation (shape) that provides maximum biomechanical efficiency. Biomechanical efficiency allows the foot to withstand, accept, absorb, dissipate and transmit loading weight bearing forces in a manner that offers the greatest protection to the horse. This principle implies that there is some combination of foot size, foot shape, wall length and angles that make the foot an ideal shock absorbing, weight-bearing structure. It is the proper combination of these variables are said to constitute what has been described as the properly balanced foot. However, there are currently several conflicting hoof balance reference systems commonly utilised and what constitutes ideal balance has been the subject of great debate for many years. One goal of the research was to investigate the principle of equal geometric proportions and dependentcy on factors such as foot-type and environmental conditions. By utilising a standardised trimming protocol and a hoof mapping system to collect measurement data based on proportionality of the bearing border length the purpose of this study was, partly, to verify whether a commonly used theory of hoof balance, firstly described by Duckett, is achieved. Secondly to determine whether geometric proportions are equivalent following trimming, thereby achieving hoof balance. -
Proposal-Third/Final Draft
Proposal for Senior Honors Thesis HONS 497 Senior Honors Thesis Credits ___3___ (2 minimum required) Directions: Please return signed proposal to the Honors Office at least one week prior to your scheduled meeting with the Honors Council. This proposal must be accepted by Honors Council the semester before presentation. Student’s Name: Samantha N. Snively Primary Advisor: Dr. L. Monique Pittman Secondary Advisor: Thesis Title: “Subverting a Foucauldian Authority in Webster’s Duchess of Malfi” Local phone: Email: Expected date of Graduation: I. Provide goals and a brief description of your project or research. Arguably John Webster’s most well-known play, The Duchess of Malfi was first performed in 1613 or 1614 and published in 1623. Nineteenth-century critics lauded the works of John Webster as most closely approaching the standard of William Shakespeare’s plays. Still staged today, The Duchess of Malfi is one of the more popular examples of Jacobean revenge tragedy, or Senecan tragedy, and exhibits many of the characteristics typical of the genre: ghosts, revenge, torture and mutilation, and extensive carnage. Malfi is notable among its contemporaries for featuring a strong, independent female in the title role; and even more so because the Duchess resists classification into either one of the two roles typically assigned to women in Elizabethan and Jacobean drama, that of the whore or the idealized, chaste woman. The Duchess of Malfi centers on the title character’s choice to marry her steward Antonio against the wishes of her brothers, Duke Ferdinand and the Cardinal. When her brothers find out about her forbidden marriage, they begin a program of psychological torture and revenge that ends in her murder. -
Evan Gaughan
Introduction The aim of this thesis is to reassess the role of women as significant collectors and patrons of natural history, fine arts and antiquities in the long eighteenth century.1 The agency and achievements of early modern female collectors and patrons have been largely eclipsed by histories of gentlemen virtuosi and connoisseurs, which examine patriarchal displays of collecting and patronage while overlooking and undervaluing the contributions made by their female counterparts. These works, in general, have operated within an androcentric framework and dismissed or failed to address the ways in which objects were commissioned, accumulated, or valued by those who do not fit into prevailing male-dominated narratives. Only in the last decade have certain scholars begun to take issue with this historiographical ignorance and investigated the existence and importance of a corresponding culture of collecting and patronage in which women exercised considerable authority. Most of this literature consists of limited, superficial portrayals that do not tell us much about the realities of female collecting and patronage in any given time or place. This project attempts to fill the historiographical gap through a detailed study of several of the most prominent British female collectors and patrons of the long eighteenth century and an analysis of how their experiences and activities disrupt or complicate our understanding of contemporary collecting and patronage practices. Although a significant intention of this thesis is to reveal the lack of well-focused or sustained scholarship on this topic, its primary objective is to restore women to their central place in the history of 1 For the purposes of this thesis, the eighteenth century has been expanded to embrace related historical movements that occurred in the first two and a half decades of the nineteenth century. -
Archaeological and Historical Assessment of Brackenridge Park City of San Antonio, Texas
Volume 1979 Article 4 1979 Archaeological and Historical Assessment of Brackenridge Park City of San Antonio, Texas Susanna R. Katz Anne A. Fox Follow this and additional works at: https://scholarworks.sfasu.edu/ita Part of the American Material Culture Commons, Archaeological Anthropology Commons, Environmental Studies Commons, Other American Studies Commons, Other Arts and Humanities Commons, Other History of Art, Architecture, and Archaeology Commons, and the United States History Commons Tell us how this article helped you. Cite this Record Katz, Susanna R. and Fox, Anne A. (1979) "Archaeological and Historical Assessment of Brackenridge Park City of San Antonio, Texas," Index of Texas Archaeology: Open Access Gray Literature from the Lone Star State: Vol. 1979, Article 4. https://doi.org/10.21112/ita.1979.1.4 ISSN: 2475-9333 Available at: https://scholarworks.sfasu.edu/ita/vol1979/iss1/4 This Article is brought to you for free and open access by the Center for Regional Heritage Research at SFA ScholarWorks. It has been accepted for inclusion in Index of Texas Archaeology: Open Access Gray Literature from the Lone Star State by an authorized editor of SFA ScholarWorks. For more information, please contact [email protected]. Archaeological and Historical Assessment of Brackenridge Park City of San Antonio, Texas Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License This article is available in Index of Texas Archaeology: Open Access Gray Literature from the Lone Star State: https://scholarworks.sfasu.edu/ita/vol1979/iss1/4 ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT OF BRACKENRIDGE PARK, CITY OF SAN ANTONIO, TEXAS Susanna R. -
Consignors' Index
Consignors’ Index Hip Color No. and Sex Sire Dam 4M RANCH, AGENT—Barn 13 824 ch.c. ..............Real Solution ...........................................Stormy Sister 1407 dkb/b.f. .........Bal a Bali (BRZ) ......................................Desert Fantasy (GB) 4M RANCH, AGENT II—Barn 13 129 dkb/b.c. .........Bind ........................................................Ideratherblucky 147 ch.f. ...............Aikenite ...................................................In Step Dancer 4M RANCH, AGENT III—Barn 13 575 ch.f. ...............Lookin At Lucky .....................................Queen Cleopatra ANDERSON FARMS, AGENT—Barn 3 363 gr/ro.f. ...........Frosted ....................................................Miss Emilia 498 b.c. ................Quality Road ...........................................Pearl Turn 505 dkb/b.f. .........Hard Spun ..............................................Pengally Bay 609 b.c. ................Nyquist ...................................................Reason 1537 b.c. ................Hard Spun ..............................................Fragrance BACCARI BLOODSTOCK LLC, AGENT I—Barn 3 863 b.f..................Constitution ............................................Sweet Problem 996 b.c. ................Mastery ...................................................Veronique 1092 b.c. ................Union Rags .............................................After ought 1132 b.c. ................Medaglia d’Oro .......................................Appealing Bride 1345 ch.c. ..............Classic Empire -
Favourite Poems for Children Favourite Poems For
Favourite Poems JUNIOR CLASSICS for Children The Owl and the Pussycat • The Pied Piper of Hamelin The Jumblies • My Shadow and many more Read by Anton Lesser, Roy McMillan, Rachel Bavidge and others 1 The Lobster Quadrille Lewis Carroll, read by Katinka Wolf 1:58 2 The Walrus and the Carpenter Lewis Carroll, read by Anton Lesser 4:22 3 You Are Old, Father William Lewis Carroll, read by Roy McMillan 1:46 4 Humpty Dumpty’s Song Lewis Carroll, read by Richard Wilson 2:05 5 Jabberwocky Lewis Carroll, read by David Timson 1:33 6 Little Trotty Wagtail John Clare, read by Katinka Wolf 0:51 7 The Bogus-Boo James Reeves, read by Anton Lesser 1:17 8 A Tragedy in Rhyme Oliver Herford, read by Anton Lesser 2:25 9 A Guinea Pig Song Anonymous, read by Katinka Wolf 0:47 10 The Jumblies Edward Lear, read by Anton Lesser 4:06 2 11 The Owl and the Pussycat Edward Lear, read by Roy McMillan 1:35 12 Duck’s Ditty Kenneth Grahame, read by Katinka Wolf 0:40 13 There was an Old Man with a Beard Edward Lear, read by Roy McMillan 0:17 14 Old Meg John Keats, read by Anne Harvey 1:24 15 How Pleasant to Know Mr Lear Edward Lear, read by Roy McMillan 1:31 16 There was a naughty boy John Keats, read by Simon Russell Beale 0:35 17 At the Zoo William Makepeace Thackeray, read by Roy McMillan 0:29 18 Dahn the Plug’ole Anonymous, read by Anton Lesser 1:14 19 Henry King Hilaire Belloc, read by Katinka Wolf 0:47 20 Matilda Hilaire Belloc, read by Anne Harvey 2:35 3 21 The King’s Breakfast A.A.