SIDDHARTHA an Indian Tale
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2019 Silent Auction List
September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD, -
Plays to Read for Furman Theatre Arts Majors
1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern -
Hermann Hesse‟S Novel Siddhartha Is Set in Ancient India at the Time of Buddha (563 B.C
Chapter IV Siddhartha 4. 1 Introduction: Hermann Hesse‟s novel Siddhartha is set in ancient India at the time of Buddha (563 B.C. – 483 B.C.). We find the roots of Siddhartha’s conception in his childhood. Hesse‟s parents had been in India as missionaries. His mother was born in India. However, the health of Hesse‟s father declined and the whole family had to shift to Calw. They joined the maternal grandfather of Hesse Dr. Gundert, a well- known linguist and a scholar in eastern philosophy. At this place, Hesse was brought up under the influence of Indian songs, books, and discussions about Indian and Chinese writings. The beautiful objects and pieces of art left a profound impression on Hesse‟s mind. Hence, in the novel Siddhartha, we find an influence of eastern philosophy. Likewise, Hesse‟s life had been influenced by the psychoanalytical theory of Carl Jung. During the period of the World War I, Hermann Hesse experienced a writer‟s block due to the political and familial difficulties in his creative career. During the writer‟s block, he underwent psychoanalytical treatment under Dr. Lang and Dr. Jung in 1921. In the state of depression, he stored away the first part and the second part of Siddhartha in June 1920 to the end of 1921. He could finish the novel only in May 1922. In his essay, “The Structure of the Conscious” Jung formulates his theory of individuation which has an influence on the structure of Siddhartha. Jung names this process as „Self-realization‟, „individuation‟, and “differentiation”. -
The Story of the Buddha and the Roots of Buddhism
The Story of The Buddha and the Roots of Buddhism Born in Nepal in the 6th (500’s) century B.C., Buddha was a spiritual leader and teacher whose life serves as the foundation of the Buddhist religion. A man named Siddhartha Gautama and he had achieved full awareness -- would one day become known as Buddha. thereby becoming Buddha. Buddha means "enlightened one" or "the awakened.” Siddhartha lived in Nepal during Early Years of His Life the 6th to 4th century B.C. While scholars The Buddha, or "enlightened one," was agree that he did in fact live, the events of his born Siddhartha (which means "he who life are still debated. According to the most achieves his aim") Gautama to a large clan widely known story of his life, after called the Shakyas in Lumbini in modern day experimenting with different teachings for Nepal in the 500’s B.C. His father was king years, and finding none of them acceptable, who ruled the tribe, known to be economically Gautama spent a fateful night in deep poor and on the outskirts geographically. His meditation. During his meditation, all of the mother died seven days after giving birth to answers he had been seeking became clear him, but a holy man prophesized great things explained that the ascetic had renounced the for the young Siddhartha: He would either be world to seek release from the human fear of a great king or military leader or he would be death and suffering. Siddhartha was a great spiritual leader. overcome by these sights, and the next day, To keep his son from witnessing the at age 29, he left his kingdom, wife and son miseries and suffering of the world, to lead an ascetic life, and determine a way Siddhartha's father raised him in extreme to relieve the universal suffering that he now luxury in a palace built just for the boy and understood to be one of the defining traits of sheltered him from knowledge of religion and humanity. -
Britten's Acoustic Miracles in Noye's Fludde and Curlew River
Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in -
Richard Bean's the Big Fellah (2010) and Jez Butterworth's the Ferryman
DOI: http://dx.doi.org/10.5007/2175-8026.2020v73n2p115 RICHARD BEAN’S THE BIG FELLAH (2010) AND JEZ BUTTERWORTH’S THE FERRYMAN (2017): TWO PLAYS ABOUT THE NORTHERN TROUBLES FROM OUTSIDE OF NORTHERN IRELAND Hiroko Mikami1* 1Waseda University, Tokyo, Japan Abstract During the three decades of the Troubles of Northern Ireland (1969– 1998), a remarkable amount of plays about the conflict was written, most by (Northern) Irish playwrights. Recently, however, alongside growing concerns about violence worldwide since 9/11, authors who are not of Irish descent have begun to choose the Northern Troubles as their theme. This article deals with two plays, Richard Bean’s The Big Fellahand Jez Butterworth’s The Ferryman, neither of which was written by an Irish playwright, and examines whether and to what extent it is possible to say that they can transcend regional boundaries and become part of global memories in the context of the post-Good Friday Agreement and 9/11. Keywords: Richard Bean; The Big Fellah; Jez Butterworth; The Ferryman; the Troubles of Northern Ireland * Professor of Irish Studies at Waseda University, Tokyo, where she also serves as director of the Institute for Irish Studies. She authored Frank McGuinness and his Theatre of Paradox (Colin Smythe, 2002) and co-edited/ authored Ireland on Stage: Beckett and After(Carysfort, 2007) and Irish Theatre and Its Soundscapes(2015). She translated many contemporary Irish plays into Japanese, including Tom Murphy’s Bailegangaire and A Thief of a Christmas, and Frank McGuinnes’s Innocence and Mutabilitie. E-mail address: [email protected]. ORCID: https://orcid.org/0000-0003-0731-454X. -
Siddhartha's Smile: Schopenhauer, Hesse, Nietzsche
Bard College Bard Digital Commons Senior Projects Fall 2015 Bard Undergraduate Senior Projects Fall 2015 Siddhartha's Smile: Schopenhauer, Hesse, Nietzsche Benjamin Dillon Schluter Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2015 Part of the Continental Philosophy Commons, and the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Schluter, Benjamin Dillon, "Siddhartha's Smile: Schopenhauer, Hesse, Nietzsche" (2015). Senior Projects Fall 2015. 42. https://digitalcommons.bard.edu/senproj_f2015/42 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Siddhartha’s Smile: Schopenhauer, Hesse, Nietzsche Senior Project Submitted to The Division of Social Studies and The Division of Languages and Literature of Bard College by Benjamin Dillon Schluter Annandale-on-Hudson, New York December 2015 Acknowledgments Mom: This work grew out of our conversations and is dedicated to you. Thank you for being the Nietzsche, or at least the Eckhart Tolle, to my ‘Schopenschluter.’ Dad: You footed the bill and never batted an eyelash about it. May this work show you my appreciation, or maybe just that I took it all seriously. -
Jailhouse Springs
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1993 Jailhouse Springs Robert Hackett The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Hackett, Robert, "Jailhouse Springs" (1993). Graduate Student Theses, Dissertations, & Professional Papers. 2774. https://scholarworks.umt.edu/etd/2774 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Bobêrf J- Maureen and Mike MANSFIELD LIBRARY TheMontana University of Permission is granted by the author to reproduce this material in its entirety, provided thatthis material is used for scholarly purposes and is properly cited in published works and reports. * * Please check “Yes ” or “No “ and provide signature Yes, I grant permission No, I do not grant permission Author’s Signature. Date: Any copying for commercial purposes or financial gain may be undertaken only with the author’s explicit consent. MALlCnPY.PM4 Jailhouse Springs By Robert Hackett B.A., Dartmouth College, 1986 Presented in partial fulfillment of the requirements for the degree of Masters of Fine Arts University of Montana 1993 Approved by Chairman Dean, Graduate School TUnr. So. / Date UMI Number: EP35683 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Hermann Hesse's Siddhartha: a Spiritual and Psychic Coming of Age?
Hermann Hesse’s Siddhartha: A Spiritual and Psychic Coming of Age? Hermann Hesse’s (“Hesse”) creation of the novel Siddhartha shortly after World War I with its final publication in 1922, constitutes a Bildungsroman that still transports readers now ninety-seven years later into a place of spiritual introspection. Hesse’s search for psychic and spiritual unity in a post-world war apocalyptic Germany, soon to be on the brink of another world war and Nazi occupation is an astonishing masterpiece that circumvented the estrangement and alienation of war and persecution. Hesse’s Siddhartha, his alter ego or rather alter spiritual guide finds through trial and error in various spiritual incarnations; his true nature. Is Siddhartha a spiritual journeyman who comes of age within the realm of peace, serenity and unity that Hermann Hesse searched for as well? Or is this sweet parable just another questionable open-ended story of maturation? If this novel is truly a spiritual coming of age; what spiritual path led Hesse to create Siddhartha? It is submitted that a journey down many paths led Hesse and Siddhartha to enlightenment and true love. Hesse’s “way within” (Freedman, viii) as Ralph Freedman explains in the novel’s introduction was a life-long artistic and psychological process. M.K. Praseeda writes in “The Need of Spiritual Endeavors for an Intellectual Existence: a Re-reading of Hermann Hesse’s Siddhartha” that “Siddhartha fits well both in the genres of the novel of education, and the Bildungsroman” (3). The inner struggle of Siddhartha to become enlightened through various manifestations of “ancient wisdom, Upanishad wisdom and the very essence of the experience of the Buddha” (3) are the partial influences upon Hesse. -
Going Forth: from Home to Homelessness by Mu Soeng
Going Forth: From Home to Homelessness By Mu Soeng “Going Forth” (Pali: pabbajana; Skt: pravraajana) is a term of great antiquity in broader Indian philosophical thought, and seems to have been a core reference point for religious rebels at the time of the Buddha. It refers to a clarion call for “going forth from home life to homelessness” that was quite audible and visible at the time of Buddha’s birth. It was seen in the figure of the wandering ascetic whose sighting became one of the four “heavenly signs” the young and safely-ensconced Siddhartha Gautama saw: an old man, a sick person, a corpse, and the wandering ascetic. These four signs were disturbing enough for the young man to go forth from his comfortable life of luxury and security to live as an ascetic in the forest. Until very recently, the figure of an ochre- robed sannyasin, the wandering ascetic, was so common in the cities and towns of India as to be part of the scenery that everyone took for granted. The protocols of Going Forth at the time of the birth of the Buddha effectively meant leaving the life of a civic society and becoming a wandering ascetic, often joining a group of ascetics. The central fact of the future Buddha going into the forest remained the physical act of leaving a domestic life. Within the Buddhist tradition this call got translated, centuries after the death of the Buddha, into settled monasticism. The physical act of joining a community of monks has remained the most visible dimension of Going Forth in the life of a Buddhist. -
The Hols Op Dreams and Visions in Tee
THE HOLS OP DREAMS AND VISIONS IN TEE MAJOR NOVELS OP HERMANN E5S3S APPROVEDi la .for Prosessox Minor /} rL ± m fk Directors of Vhe Dcd»i-me; '•5 f"" EnpftI sh" ~ :.-e«rt or 'cnc McCleery, Roy H.-, The Hole of Dreg as end Visions in the Major Novels of Hjermsnn Hesse, Master of Arts (English), May, IS3?!, 79pp. * bibliography, 4-9 titles, Hermann Hesse's debt to psychoanalysis—to Freud and Jung--has beers frequently documented, but English-1anguage studies of Hesse have failed to adequately explore the role of dreams and visions in his major no v el s~-Demian, Slddhartha, Steppemrolf, Narcissus ana aoldmund, and The Glass Bead Game,, This study attempts to summarize the present state of Hesse criticism in this area and to make a systematic study of the role of dreams and visions in each of the five major novels. This study confines itself to sources written in the English language, omitting all untranslated items. Biblio- graphical items are limited since there are only eight boo<€~ length English-language studies of Hesse in print. Joseph Mileck's Hermann Hesse and His Critics; The Criticism of Half a Century; provides comprehensive coverage of periodical and journal articles up to 1957* The PKLA Annual 31faliogra- bbles and the notes and bibliographies in the books on Hesse provide adequate coverage to the present, A "baslo list of about forty articles soon emerges, but only a few of them provide any useful Information about the role of dreads and visions in Hesse's major novels. The introductory chapter illustrates the prominence of dreams and visions in Hesse*s major novels and points out the corresponding lack of scholarly criticism in this area.