Blackadder Goes Forth Directed by Nick Webb ‘Goodbyeee’ Captain Edmund Blackadder
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The Man Who Invented Christmas Film Adaptations of Dickens’ a Christmas Carol Dr Christine Corton
10TH DECEMBER 2019 The Man Who Invented Christmas Film Adaptations of Dickens’ A Christmas Carol Dr Christine Corton A Christmas Carol is now over 175 years old. Written in 1843, it is certainly the most televised of Dickens’s works and equals if not beats, its closest rival, Oliver Twist (1837-39) for cinema releases. It’s had a huge influence on the way we understand the Christmas festival. It was written at a time when the festival was being revived after centuries of neglect. And its impact was almost immediate. A Christmas Carol quickly achieved iconic status, far more so than any of Dickens’s other Christmas stories. You have to have been living on some far-off planet not to have heard of the story – the word ‘Scrooge’ has come to represent miserliness and ‘Bah, Humbug’ is a phrase often resorted to when indicating someone is a curmudgeon. Even, Field Marshall Montgomery concluded his Christmas Eve message to the Eighth Army on the battlefield with Tiny Tim’s blessing. In 1836 Dickens described Christmas at Dingley Dell in The Pickwick Papers in which of course one of the most famous of the interpolated tales appears, The Story of the Goblins who Stole a Sexton and for those who know the tale, the miserable and mean Gabriel Grub is not a million miles away from Scrooge. Both Mr Pickwick’s Christmas at Wardle’s (1901) and Gabriel Grub: The Surly Sexton (1904) were used as the basis for silent films at around the same time as the first silent version of the 11 minute long: Scrooge: Or Marley’s Ghost which was released in 1901. -
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1 +\SHUDQGPLVXQGHUVWDQGLQJLQLQWHUDFWLRQDOKXPRU Geert Brône University of Leuven Department of Linguistics Research Unit &UHDWLYLW\+XPRUDQG,PDJHU\LQ/DQJXDJH (CHIL) E-mail address: [email protected] $ ¢¡¤£¦¥¢§©¨ £ This paper explores two related types of interactional humor. The two phenomena under scrutiny, K\SHUXQGHUVWDQGLQJ and PLVXQGHUVWDQGLQJ, categorize as responsive conversational turns as they connect to a previously made utterance. Whereas hyper-understanding revolves around a speaker’s ability to exploit potential weak spots in a previous speaker’s utterance by playfully echoing that utterance while simultaneously reversing the initially intended interpretation, misunderstanding involves a genuine misinterpretation of a previous utterance by a character in the fictional world. Both cases, however, hinge on the differentiation of viewpoints, yielding a layered discourse representation. A corpus study based on the British television series %ODFNDGGHU reveals which pivot elements can serve as a trigger for hyper- and misunderstanding. Common to all instances, it is argued, is a mechanism ofILJXUHJURXQG UHYHUVDO. Key words: interactional humor, hyper-understanding, misunderstanding, layering, mental spaces, figure-ground reversal 2 ,QWURGXFWLRQ Recent studies in pragmatics (see e.g. Attardo 2003) have shown a renewed interest in humor as a valuable topic of interdisciplinary research. More specifically, these studies have extended the traditional focus of humor research on jokes to include longer narrative texts (Attardo 2001a, Triezenberg 2004) and conversational data (Boxer and Cortés-Conde 1997, Hay 2001, Kotthoff 2003, Norrick 2003, Antonopoulou and Sifianou 2003, Archakis and Tsakona 2005). New data from conversation analysis, text linguistics and discourse psychology present significant challenges to linguistic humor theories like the General Theory of Verbal Humor (Attardo 1994, 2001a), and call for (sometimes major) revisions. -
Bald and Bold for St. Baldrick's
Wednesday, February 26, 2014 VOLUME 33 / NUMBER 22 www.uicnews.uic.edu facebook.com/uicnews twitter.com/uicnews NEWS UIC youtube.com/uicmedia For the community of the University of Illinois at Chicago Photo: S.K. Vemmer Carly Harte and Andrea Heath check each other’s new look after their heads were shaved in a fundraiser for St. Baldrick’s Foundation Thursday. The roommates drove from Milwaukee to Children’s Hospital University of Illinois for the event, which benefits pediatric cancer research at UIC and elsewhere. More on page 3; watch the video atyoutube.com/uicmedia Bald and bold for St. Baldrick’s INSIDE: Profile / Quotable 2 | Campus News 4 | Calendar 12 | Student Voice 13 | Police 14 | Sports 16 Composer Steve Everett finds the Honoring UIC’s Researchers of Cai O’Connell’s once-in-a-lifetime Women’s basketball gets ready to right notes the Year Olympics assignment break the record More on page 2 More on page 7 More on page 11 More on page 16 2 UIC NEWS I www.uicnews.uic.edu I FEBRUARY 26, 2014 profile Send profile ideas to Gary Wisby,[email protected] Composer Steve Everett hits right notes with technology By Gary Wisby Princeton and a guest composer at Eastman School of Music, Conservatoire National Supérieur de Mu- Epilepsy. sique de Paris, Conservatoire de Musique de Genève The chemical origins of life. in Switzerland, Rotterdam Conservatory of Music A young prostitute who lived in and Utrecht School of the Arts in the Netherlands. New Orleans’ notorious Storyville His compositions have been performed in Paris, 100 years ago. -
Li4j'lsl!=I 2 Leeds Student Ma Aj Rnutidoo ®~1 the Bulk of Landlords .Trc \.\Ith News Ump,.'11
THE REVOLT T F TH HT --FULL STORY PAGE NINE -----li4J'lSl!=I 2 www.leedsstudentorg.uk Leeds Student ma aJ rnutIDoo ®~1 the bulk of landlords .trc \.\ith News Ump,.'11. 20 per ce n1 uren ·1 and LIBERAL Democnil MP in the ..crabbl c 10 find holbm,1: S0%of Simon llu~ht-s has helped in LS6. .., ,uden~ forgc1 11t.11 kick-start a new student the) have nghl\." students have hou."iing crlCMJdc. Jame:; Blake, pre,;idenJ ot taken drugs lhc ·m1111 campaign . Ll'l I\ Lib Dem pan), said but they want wluch I\ be ing c;pearheadc<l h) ·-rm so plc:t5cd thut Simon the:" J~ll:, LT111vcr-.U) L1h rkm Hughe!. could launt:h th 1.:. stricter laws part). •~ .ummg In _maJ..i: c:1mpa1~.n· i1 ,hows YrC an• pt.-<1ple more aware. ol 1he1r ',C.."OOU!, nglu .. :L, IC/M Ii t.. Hu~hC!-i. \\ ho was narmwl} pages TennnL!- can dl!m.Jnd 1h i 11 w, hct11cn by Charles Kenned)- in like ',llltllu: de1cc1or... gu~ a le..ader.; lup contest. ~ id: {ee:-. for appl i,mcc\ and '"StuJcn1 .-. olten fc.el 1hat Uni of Leeds found wanting by aik-qualc 101.;b. filling,. becau~ they mm,e around 11 \ government watchdogs Greg Mulholland. a t.-01111 not '-"Onh \. Otmg. We wam 10 tell lhem lh:it ii I\, nnd lhat pages 6 · 7 cillur for l.ttJs ~fonh \\'1....,1 who i.. .il!.O baekm!! the wc · n: n:lc\'an1 ...chcme. ,,;md: ··1t\ the ... mall "If ~IUdent.,;. -
Blackadder Goes Forth Audition Pack
Blackadder Goes Forth Audition Pack Key Dates Audition Dates: • Tuesday 8 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 12 th May – 10.30am – 5.00pm • Sunday 13 th May – 10:00am – 3.00pm Recalls (if required): • Friday 18 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 19 th May – 10:00am – 1:00pm (Everyman Clubroom) Actors who are successfully cast need to understand that they MUST be available for all the following key dates • Technical Rehearsal: Sunday 11 th November (cast need to be available all day) • Dress Rehearsal: Monday 12 th November (evening) • Performance Dates: Tuesday 13 th – Saturday 17 th November; Evening Performances at 7.30pm, Saturday matinee at 2.30pm Rehearsal Nights Rehearsals will begin w/c Monday 3 rd September. Exact rehearsal nights will be confirmed nearer the time but are quite likely to be Tuesdays, Thursdays and Sundays. Not all cast will be required for every rehearsal. Plot Blackadder Goes Forth is set in 1917 on the Western Front in the trenches of World War I. Captain Edmund Blackadder is a professional soldier in the British Army who, until the outbreak of the Great War, has enjoyed a relatively danger-free existence fighting natives who were usually "two feet tall and armed with dried grass". Finding himself trapped in the trenches with another "big push" planned, his concern is to avoid being sent over the top to certain death. The show thus chronicles Blackadder's attempts to escape the trenches through various schemes, most of which fail due to bad fortune, misunderstandings and the general incompetence of his comrades. -
TEXT-PS-122-Anthology.Pdf
Teachers & Writers Collaborative Spring 2018 T&W Collaborative Teaching Artist: Olaya Barr NYU Education Associate: India Gonzalez PS/IS 122Q Academy for the Intellectually Gifted Principal: Anna Aprea Assistant Principals: Alba Carlucci & Michael Pascarelli 6th-Grade ELA Teacher (Classes 506, 501, 509 & 504): Irene Pappas 1 To see your young author published in our magazine please visit teachersandwritersmagazine.org. TEACHERS & WRITERS COLLABORATIVE (T&W) partners with New York City schools and community-based organizations to offer dynamic creative writing programs led by professional writers. Since 1967, T&W has worked with more than 750,000 K-12 students and more than 25,000 teachers at schools throughout New York City; published more than 80 books and an online magazine about creative writing education; and provided free resources for students, teachers, and writers on our website (www.twc.org). ACKNOWLEDGMENTS This residency was sponsored by New York City Department of Education, E.H.A. Foundation, and Teachers & Writers Collaborative (T&W). T&W programs are made possible in part by the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. T&W is also grateful for support from the following: Amazon.com, Aroha Philanthropies, Bay and Paul Foundations, Bydale Foundation, Cerimon Fund, Charles Lawrence Keith and Clara Miller Foundation, Con Edison, E.H.A. Foundation, Hans and Ruth Cahnmann Family Fund, ING Financial Services, Jerome Foundation, Kenneth Koch Literary Estate, Laura B. -
Disabling Comedy: “Only When We Laugh!”
Disabling Comedy: “Only When We Laugh!” Dr. Laurence Clark, North West Disability Arts Forum (Paper presented at the ‘Finding the Spotlight’ Conference, Liverpool Institute for the Performing Arts, 30th May 2003) Abstract Traditionally comedy involving disabled people has extracted humour from people’s impairments – i.e. a “functional limitation”. Examples range from Shakespeare’s ‘fool’ character and Elizabethan joke books to characters in modern TV sitcoms. Common arguments for the use of such disempowering portrayals are that “nothing is meant by them” and that “people should be able to laugh at themselves”. This paper looks at the effects of such ‘disabling comedy’. These include the damage done to the general public’s perceptions of disabled people, the contribution to the erosion of a disabled people’s ‘identity’ and how accepting disablist comedy as the ‘norm’ has served to exclude disabled writers / comedians / performers from the profession. 1. Introduction Society has been deriving humour from disabled people for centuries. Elizabethan joke books were full of jokes about disabled people with a variety of impairments. During the 17th and 18th centuries, keeping 'idiots' as objects of humour was common among those who had the money to do so, and visits to Bedlam and other 'mental' institutions were a typical form of entertainment (Barnes, 1992, page 14). Bilken and Bogdana (1977) identified “the disabled person as an object of ridicule” as one of the ten media stereotypes of disabled people. Apart from ridicule, disabled people have been largely excluded from the world of comedy in the past. For example, in the eighties American stand-up comedian George Carlin was arrested whilst doing his act for swearing in front of young disabled people. -
February 2018 Pits Close and a Strike Is Called
01.cover_Layout 1 08/02/2018 15:47 Page 1 02.specsavers_Layout 1 07/02/2018 16:56 Page 1 03.contents_contents june 06.qxd 07/02/2018 17:26 Page 1 WELCOME TO BREEZE Feel the Breeze! Well, here we are in the midst of many changes up and down the country and we’ve been busy too! BUSINESS OWNERS Want to let the community around you We’ve been around now for no less than fifteen years and in that time know you are here - then contact our team we have received such a warm reception from our loyal readers. and be a part of the Breeze success. Sometimes though it is time for a ‘spring clean’ so here we are with our Just call Sandra on 07967 282558 refreshed design and improved content. We are still here as your No.1 favourite community magazine! READERS - Enjoy reading about local clubs & events We are online as well don’t forget, giving you the chance to look up back and tell us about yours - we’ll do our best issues and see what we’ve covered over the year so don’t worry if you to promote your community. And don’t ever misplace us - we’re on facebook or simply pop online at forget to support your local businesses - www.breeze-magazine.co.uk mention you saw them here in Breeze! Are you a reader with an idea of what you want to see in the magazine? Do you have an interesting activity or run a local club in our area? Well why not get in touch? Just email us on [email protected] OUR CONTACTS: If you are one of the many local business who kindly choose us to Advertising Sales: 07967 282 558 advertise your business then we hope you also like our new look - e: [email protected] a superb media format for telling Breeze readers about what you do! Editorial for clubs / charities etc: Facebook Page - Look for Breeze Magazine, like us and share your page on ours e: [email protected] Now available to read on Smart phones & Tablets. -
Black Adder II: “Bells”
Black Adder II: “Bells” UK TV sitcom: 1985 : dir. : BBC : ? x ? min prod: : scr: Richard Curtis & Ben Elton : dir.ph.: ……….…………………………………………………………………………………………………… Rowan Atkinson; Miranda Richardson; Stephen Fry; Rik Mayall Ref: Pages Sources Stills Words Ω 8 M Copy on VHS Last Viewed 5659 1 0 0 453 No April 2002 In successive seasons this sitcom followed the fortunes of the Blackadder dynasty at different epochs of British history, the second (and best) series set at the court of Elizabeth I (Miranda Richardson). Blackadder himself (Atkinson) is a callous, world-weary courtier with a dungheap of a personal servant, Baldrick, and a witless aristocratic sidekick. In this episode a young woman comes to seek service with him disguised as a boy, rather than turn to prostitution to prevent her aged parent being turned onto the streets. Blackadder finds himself uncomfortably drawn to this page boy, “Bob”, seeks medical help and finally consults an old mystic woman for a cure. Nothing will mitigate his lust for the lad, but his masculinity is salvaged when “Bob” finally comes out to him as female. Ecstatic, he makes wedding plans at once, only to have his bride snatched away at the altar by a hellraising sea captain and ladykiller (Rik Mayall). This might as easily have been written for Frankie Howerd’s bawdy “Up Pompeii” series, except that in the intervening decade it had ceased to be kosher to make lewd fun out of men screwing boys. In the seventies “Monty Python” contained frequent risqué allusions to pederasty without anyone raising a disapproving voice, but by 1985 it had become a topic decidedly off-limits to humour. -
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Provided by the author(s) and University College Dublin Library in accordance with publisher policies. Please cite the published version when available. Title Where Does Law Come From? Authors(s) Casey, Gerard Publication date 2010-12 Publication information Philosophical Inquiry, 32 (3-4): 85-92 Publisher Philosophy Documentation Center Item record/more information http://hdl.handle.net/10197/5108 Publisher's version (DOI) 10.5840/philinquiry2010323/45 Downloaded 2021-10-02T20:08:21Z The UCD community has made this article openly available. Please share how this access benefits you. Your story matters! (@ucd_oa) © Some rights reserved. For more information, please see the item record link above. Where Does Law Come From? Gerard Casey University College Dublin Dublin 4, Ireland Ph. 353 1 716 8201 Email. [email protected] 1 Abstract Law, like language, is the product of social evolution, embodied in custom. The conditions for the emergence of law—embodiment, scarcity, rationality, relatedness and plurality—are outlined, and the context for the emergence of law—dispute resolution— is analysed. Adjudication procedures, rules and enforcement mechanisms, the elements of law, emerge from this context. The characteristics of such a customarily evolved law are its severely limited scope, its negativity, and its horizontality. It is suggested that a legal system (or systems) based on the principles of archaic law could answer the needs of social order without permitting the paternalistic interferences with liberty characteristic of contemporary legal systems. 2 I: Introduction In the darkest days of World War I, the following conversation took place in the trenches between the courage-challenged but cynical Captain Blackadder and the intelligence- challenged but phlegmatic Private Baldrick. -
MY BOOKY WOOK a Memoir of Sex, Drugs, and Stand-Up Russell Brand
MY BOOKY WOOK A Memoir of Sex, Drugs, and Stand-Up Russell Brand For my mum, the most important woman in my life, this book is dedicated to you. Now for God’s sake don’t read it. “The line between good and evil runs not through states, nor between classes, nor between po liti cal parties either, but through every human heart” Alexander Solzhenitsyn, The Gulag Archipelago “Mary: Tell me, Edmund: Do you have someone special in your life? Edmund: Well, yes, as a matter of fact, I do. Mary: Who? Edmund: Me. Mary: No, I mean someone you love, cherish and want to keep safe from all the horror and the hurt. Edmund: Erm . Still me, really” Richard Curtis and Ben Elton, Blackadder Goes Forth Contents iii Part I 1 April Fool 3 2 Umbilical Noose 16 3 Shame Innit? 27 4 Fledgling Hospice 38 5 “Diddle- Di- Diddle- Di” 50 6 How Christmas Should Feel 57 7 One McAvennie 65 8 I’ve Got a Bone to Pick with You 72 9 Teacher’s Whiskey 8186 94 10 “Boobaloo” 11 Say Hello to the Bad Guy Part II 12 The Eternal Dilemma 105111 13 Body Mist Photographic Insert I 14 Ying Yang 122 131 138146 15 Click, Clack, Click, Clack 16 “Wop Out a Bit of Acting” 17 Th e Stranger v Author’s Note Epigraph vii Contents 18 Is This a Cash Card I See before Me? 159 19 “Do You Want a Drama?” 166 Part III 20 Dagenham Is Not Damascus 179 21 Don’t Die of Ignorance 189 22 Firing Minors 201 Photographic Insert II 23 Down Among the Have-Nots 216 24 First-Class Twit 224 25 Let’s Not Tell Our Mums 239 26 You’re a Diamond 261 27 Call Me Ishmael. -
Name, a Novel
NAME, A NOVEL toadex hobogrammathon /ubu editions 2004 Name, A Novel Toadex Hobogrammathon Cover Ilustration: “Psycles”, Excerpts from The Bikeriders, Danny Lyon' book about the Chicago Outlaws motorcycle club. Printed in Aspen 4: The McLuhan Issue. Thefull text can be accessed in UbuWeb’s Aspen archive: ubu.com/aspen. /ubueditions ubu.com Series Editor: Brian Kim Stefans ©2004 /ubueditions NAME, A NOVEL toadex hobogrammathon /ubueditions 2004 name, a novel toadex hobogrammathon ade Foreskin stepped off the plank. The smell of turbid waters struck him, as though fro afar, and he thought of Spain, medallions, and cork. How long had it been, sussing reader, since J he had been in Spain with all those corkoid Spanish medallions, granted him by Generalissimo Hieronimo Susstro? Thirty, thirty-three years? Or maybe eighty-seven? Anyhow, as he slipped a whip clap down, he thought he might greet REVERSE BLOOD NUT 1, if only he could clear a wasp. And the plank was homely. After greeting a flock of fried antlers at the shevroad tuesday plied canticle massacre with a flash of blessed venom, he had been inter- viewed, but briefly, by the skinny wench of a woman. But now he was in Rio, fresh of a plank and trying to catch some asscheeks before heading on to Remorse. I first came in the twilight of the Soviet. Swigging some muck, and lampreys, like a bad dram in a Soviet plezhvadya dish, licking an anagram off my hands so the ——— woundn’t foust a stiff trinket up me. So that the Soviets would find out.