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Galileo in Rome Galileo in Rome
Galileo in Rome Galileo in Rome The Rise and Fall of a Troublesome Genius William R. Shea and Mariano Artigas Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Copyright © 2003 by Oxford University Press, Inc. First published by Oxford University Press, Inc., 2003 198 Madison Avenue, New York, New York 10016 www.oup.com Issued as an Oxford University Press paperback, 2004 ISBN 0-19-517758-4 (pbk) Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. The Library of Congress has catalogued the cloth edition as follows: Artigas, Mariano. Galileo in Rome : the rise and fall of a troublesome genius / Mariano Artigas and William R. Shea. p. cm. Includes bibliographical references and index. ISBN 0-19-516598-5 1. Galilei, Galileo, 1564-1642—Journeys—Italy—Rome. 2. Religion and science—History—16th century. 3. Astronomers—Italy—Biography. I. Shea, William R. II. Title. QB36.G2 A69 2003 520'.92—dc21 2003004247 Book design by planettheo.com 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper CONTENTS ACKNO W L E D G E M E N T S vii I N TRO D U C TIO N ix CHA P TER O N E Job Hunting and the Path -
The Chichester Festival Theatre Productions YOUNG CHEKHOV
The Chichester Festival Theatre productions YOUNG CHEKHOV Olivier Theatre Previews from 14 July, press day 3 August, booking until 3 September with further performances to be announced. The YOUNG CHEKHOV trilogy opened to overwhelming acclaim at Chichester Festival Theatre last year. The company now come to the National, offering a unique chance to explore the birth of a revolutionary dramatic voice. The production is directed by Jonathan Kent, with set designs by Tom Pye, costumes by Emma Ryott, lighting by Mark Henderson, music by Jonathan Dove, sound by Paul Groothuis and fight direction by Paul Benzing. Performed by one ensemble of actors, each play can be seen as a single performance over different days or as a thrilling all-day theatrical experience. Cast includes Emma Amos, Pip Carter, Anna Chancellor, Jonathan Coy, Mark Donald, Peter Egan, Col Farrell, Beverley Klein, Adrian Lukis, Des McAleer, James McArdle, Mark Penfold, Nina Sosanya, Geoffrey Streatfeild, Sarah Twomey, David Verrey, Olivia Vinall and Jade Williams. David Hare has written over thirty original plays, including The Power of Yes, Gethsemane, Stuff Happens, The Permanent Way (a co-production with Out of Joint), Amy’s View, Skylight, The Secret Rapture, The Absence of War, Murmuring Judges, Racing Demon, Pravda (written with Howard Brenton) and Plenty for the National Theatre. His other work includes South Downs (Chichester Festival Theatre and West End), The Judas Kiss (Hampstead and West End) and The Moderate Soprano (Hampstead). His adaptations include Behind the Beautiful Forevers and The House of Bernarda Alba at the NT, The Blue Room (Donmar and Broadway) and The Master Builder (The Old Vic). -
Galileo and Einstein Text for Physics 109, Fall 2009
Galileo and Einstein Text for Physics 109, Fall 2009 Michael Fowler, UVa Physics 8/21/2009 2 TABLE OF CONTENTS 1 INTRODUCTION: WHAT IS THIS COURSE ABOUT? ......................................................... 12 1.1 Some Basic Ideas .......................................................................................................................... 12 1.2 Babylonians and Greeks ................................................................................................................ 12 1.3 Greek Classics Come to Baghdad................................................................................................... 12 1.4 Monasteries and Universities ....................................................................................................... 13 1.5 Galileo .......................................................................................................................................... 13 1.6 Newton ......................................................................................................................................... 13 1.7 From Newton to Einstein .............................................................................................................. 13 1.8 What about Other Civilizations? ................................................................................................... 14 1.9 Plan of the Course ......................................................................................................................... 14 2 COUNTING IN BABYLON ........................................................................................................... -
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE of SOCIAL SCIENCES the CRITIQUE of NEOLIBERALISM in DAVID HARE's PLAYS Phd THESİS Ha
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF SOCIAL SCIENCES THE CRITIQUE OF NEOLIBERALISM IN DAVID HARE’S PLAYS PhD THESİS Hakan GÜLTEKİN Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assoc. Prof. (Ph. D.) Ferma LEKESİZALIN June, 2018 ii T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF SOCIAL SCIENCES THE CRITIQUE OF NEOLIBERALISM IN DAVID HARE’S PLAYS PhD THESİS Hakan GÜLTEKİN (Y1414.620014) Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assoc. Prof. (Ph. D.) Ferma LEKESİZALIN June, 2018 ii iv DECLARATION I hereby declare that all information in this thesis document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results, which are not original to this thesis. ( / /2017). Hakan GÜLTEKİN v vi FOREWORD I would like to express my appreciation to my supervisor Assoc. Prof. Dr. Ferma LEKESĠZALIN for her persistent encouragement, guidance, patience, and Dr. Ahmet Gökhan BĠÇER for his erudite comments and invaluable contribution. I am also indebted to Dr. Öz ÖKTEM and Dr. Gamze SABANCI UZUN for supporting me in Istanbul Aydin University days. I would also like to thank Prof. Dr. Mehmet TAKKAÇ for his suggestions. Special thanks go to Prof. Dr. Ġbrahim YEREBAKAN and Dr. Mesut GÜNENÇ, whose encouragements have been of particular note here. I am also grateful to Assoc. Prof. Dr. Gillian Mary Elizabeth ALBAN, Dr. Hüseyin EFE, Dr. Arsev AyĢen ARSLANOĞLU YILDIRAN, Sercan ÖZTEKĠN and Florentina GÜMÜġ for their help during the creation phase of my thesis. -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf
FREE DAVID HARE PLAYS 1: SLAG; TEETH N SMILES; KNUCKLE; LICKING HITLER; PLENTY PDF David Hare | 496 pages | 01 Apr 1996 | FABER & FABER | 9780571177417 | English | London, United Kingdom David Hare Plays 1 | Faber & Faber Plenty is a play by David Harefirst performed inabout British post-war disillusion. The inspiration for Plenty came from the fact that 75 per cent of the women engaged in wartime SOE operations divorced in the immediate post-war years; the title is derived from the idea that the post-war era would be a time of "plenty", which proved untrue for most of England. The play premiered Off-Broadway on 21 Octoberat the Public Theaterwhere it ran for 45 performances. Plenty was revived at Chichester inin the Festival Theatre between June. Susan Traherne, a former secret agent, is a woman conflicted by the contrast between her past, exciting triumphs and her present, more ordinary David Hare Plays 1: Slag; Teeth n Smiles; Knuckle; Licking Hitler; Plenty. However, she regrets the mundane nature of her present life, as the increasingly depressed wife of a diplomat whose career she has destroyed. Susan Traherne's story is told in a non-linear chronologyalternating between her wartime and post-wartime lives, illustrating how youthful dreams rarely are realised and how a person's personal life can affect the outside world. Sources: Playbill; [3] Lortel [2]. From Wikipedia, the free encyclopedia. Official London Theatre Guide. Archived from the original on 18 January Retrieved 4 December BBC News. Archived from the original on 27 February Retrieved 5 May CS1 maint: archived copy as title link sheffieldtheatres. -
Sophocles' Antigone Reworked in the Twentieth
NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s. -
Louise Michel
also published in the rebel lives series: Helen Keller, edited by John Davis Haydee Santamaria, edited by Betsy Maclean Albert Einstein, edited by Jim Green Sacco & Vanzetti, edited by John Davis forthcoming in the rebel lives series: Ho Chi Minh, edited by Alexandra Keeble Chris Hani, edited by Thenjiwe Mtintso rebe I lives, a fresh new series of inexpensive, accessible and provoca tive books unearthing the rebel histories of some familiar figures and introducing some lesser-known rebels rebel lives, selections of writings by and about remarkable women and men whose radicalism has been concealed or forgotten. Edited and introduced by activists and researchers around the world, the series presents stirring accounts of race, class and gender rebellion rebel lives does not seek to canonize its subjects as perfect political models, visionaries or martyrs, but to make available the ideas and stories of imperfect revolutionary human beings to a new generation of readers and aspiring rebels louise michel edited by Nic Maclellan l\1Ocean Press reb� Melbourne. New York www.oceanbooks.com.au Cover design by Sean Walsh and Meaghan Barbuto Copyright © 2004 Ocean Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photo copying, recording or otherwise, without the prior permission of the publisher. ISBN 1-876175-76-1 Library of Congress Control No: 2004100834 First Printed in 2004 Published by Ocean Press Australia: GPO Box 3279, -
Volcano House Register Volume 2
Haw VolcanoesNa al Park National Service Park The Volcano House Register, Volume 2 1873-1885 In this volume, on almost every page, there are entries in which a writer merely gives his name, date, times of arrival and departure, and destination. In the other volumes, whenever this occurs, I mention that I omitted such an entry, and give the page number. But because there are so many such entries in this particular volume, it would become tedious both for the transcriber to record and the reader to read every case of such omission; so I am doing it once only, here at the beginning of the document. On the page facing page 1, there is a rough table of contents, listing the page numbers of various maps and signatures of Kalakaua, Louis Pasteur, etc. In addition, there is a poem: Index Some good Some mediocre And much rotten For the Lord's sake Don't write unless You have somethingHawai'i Volcanoes Park To say & can say it. National Park Ser no signature and no date Between 11 and 12 last night Mokuaweoweo started action again. The wind has been from the southward, and the whole day a dense body of smoke has been passing over Kilauea and across Puna, off to sea. Evidently a much greater portion of the crater is in action than in the eruption of August last. Had a heavy thunder shower about dusk with hail and this evening there is considerable lightning. Weather hazy and top of mountain seldom visible. Kilauea quite active but no lava flowing. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Communications from the International Brecht Society. Vol. XIII, No. 2 April 1984
Communications from the International Brecht Society. Vol. XIII, No. 2 April 1984 San Antonio, Texas: International Brecht Society, Inc., April 1984 https://digital.library.wisc.edu/1711.dl/M3HLL3GNJRCAF8S http://rightsstatements.org/vocab/InC/1.0/ Copyright International Brecht Society. Used with Permission. The libraries provide public access to a wide range of material, including online exhibits, digitized collections, archival finding aids, our catalog, online articles, and a growing range of materials in many media. When possible, we provide rights information in catalog records, finding aids, and other metadata that accompanies collections or items. However, it is always the user's obligation to evaluate copyright and rights issues in light of their own use. 728 State Street | Madison, Wisconsin 53706 | library.wisc.edu - ORR IPE RII DENIC RIR SOCIO SSC Seca ON een er ORE Oo SAN RR NAR RCO SNR IN AN ga ad tease eRe NN = Te TR OMRON ANNs sR ae RR il 7~—_ Se MRS EE Sey Beene ME ee Ss Ber ae ee cee BSP ae NCR ee S nee Sea Renee . “OSI RRR nS NR BR CRE ER RCs. NEO SORES SS AOL ORCS Dt as ~ Perea pS VS ORR 5 cams Ee GENO. a Bee RRM Re Ree. TRNAS OO LE NERS mE REE SOS Pon an ME , BK tin, OSORRRR ED SS. : “UN SES ae San Gorter e " ie * OS Se a Re ae ee BBR Ss SO RR RES ROS nearer Besa cen: 8 >. BU ee : RRM Cm Ree MRR eg ESS BOR eget ne. oy BEES AFR ean Nan ee ee athe Ae oe i, a a _ ees AR, o 3 Eee era Ni OSE €i : RRS raster oe ne eA ge OR NDS SED TO a See ees BR SOR Sa Rea ss Se ee lee. -
The Plays of David Hare Carol Homden Excerpt More Information
Cambridge University Press 978-0-521-41715-0 - The Plays of David Hare Carol Homden Excerpt More information Introduction: a statement of departure David Hare's production of King Lear opened in the Olivier Theatre on 14 December 1986 just two weeks after the end of the run of Pravda, and while The Bay at Nice and Wrecked Eggs contin- ued on the Cottesloe stage. In the autumn of 1993, Hare's trilogy on British institutions was scheduled to be performed on a single day. Such domination of the National Theatre is unparalleled in its history, and has no equivalent by a contemporary writer at the Royal Shakespeare Company; it amounts to much more than a res- idency of the kind Hare had at the Royal Court (1969-71) or Nottingham (1973) and assigns to him a privileged position within British theatre. Such status is particularly rare for a dramatist of his generation writing from a 'socialist' perspective and yet, in contrast to many of his contemporaries, Hare's work stands without any comprehen- sive study. The omission is partly explained by Hare's own deliber- ately enigmatic position, but he is also a troublesome and often troubled writer who uses his work as a way of resolving internal tensions, making systematic analysis particularly difficult. Any attempt to provide such a survey of a living and still fertile writer will inevitably be superseded, but Hare will continue to raise two eternal literary and historical problems. How do you find a critical distance on a writer whose existing plays are part of an evolving and uncompleted body of work? And since those works are them- selves an examination of the flux of contemporary experience, how do you find a distance on your own life and times? The answer to the first question has traditionally lain in compar- ison, by looking at Hare in relation to his peer group, and it is this approach which is taken by most existing critical work.