DOCSLIB.ORG

ASLEEP in the ARMS of GOD Kevin M. Clay, B.A., M.A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ASLEEP in the ARMS of GOD Kevin M. Clay, B.A., M.A ASLEEP IN THE ARMS OF GOD Kevin M. Clay, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 1999 APPROVED: Barbara Rodman, Major Professor Lee Martin, Committee Member James T. F. Tanner, Committee Member and Chair of the Department of English Lynn Eubank, Graduate Chair of the Department of English C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Clay, Kevin M., Asleep in the Arms of God. Doctor of Philosophy (English), December, 1999, 228 pp. A work of creative fiction in the form of a short novel, Asleep in the Arms of God is a limited-omniscient and omniscient narrative describing the experiences of a man named Wafer Roberts, born in Jack County, Texas, in 1900. The novel spans the years from 1900 to 1925, and moves from the Keechi Valley of North Texas, to Fort Worth and then France during World War One, and back again to the Keechi Valley. The dissertation opens with a preface, which examines the form of the novel, and regional and other aspects of this particular work, especially as they relate to the postmodern concern with fragmentation and conditional identity. Wafer confronts in the novel aspects of his own questionable history, which echo the larger concern with exploitative practices including racism, patriarchy, overplanting and overgrazing, and pollution, which contribute to and climax in the postmodern fragmentation. The novel attempts to make a critique of the exploitative rage of Western civilization. TABLE OF CONTENTS PREFACE: ASLEEP IN THE ARMS OF HISTORY INTRODUCTION 1 PRELIMINARY QUESTIONS OF GENRE 3 THE TEXAS LITERARY TRADITION 11 HISTORICAL AND PHILOSOPHICAL BASE 16 RACISM AND OTHER EXPLOITATIONS 19 POLITICS, FUNDAMENTALISM, AND POSTMODERNISM IN TEXAS 23 CONCLUSION 29 ASLEEP IN THE ARMS OF GOD PART ONE: 1901 41 PART TWO: 1917 103 PART THREE: 1918 165 PART FOUR: 1925 227 ASLEEP IN THE ARMS OF HISTORY: A CLOSER LOOK AT ASLEEP IN THE ARMS OF GOD Introduction The following short novel, Asleep in the Arms of God, is set in north Texas, in the early years of the twentieth century. The main character is Wafer Roberts, the scion of a prominent farm family in Jack County’s Keechi Valley. The story is told almost wholly from his point of view. Wafer is born in 1901, at the century’s turn. Born into one kind of world, a nineteenth- century world, he finds himself, upon his somewhat premature majority, in another sort altogether; a world that refuses to be still, a twentieth century world. That world is, of course, the direct predecessor of our own, materially in transition from nineteenth century certainty, to an angst-ridden indeterminancy that we, a century later, find easily, or uneasily, familiar. In Texas as elsewhere, there were a few stops along the way of that transition—we might take the Somme, Auschwitz-Birkenau, Hiroshima, and My Lai as more-or-less representative ossuaries, occupying prominent points in the broader itinerary. Other, more local monuments to the industrialized style of prosperity, and the ethical vacuum it creates, include Port Arthur and Beaumont, on the Texas gulf coast, their fragrant perfumes wafting ever inland. Still others, elsewhere, Three Mile Island, Love Canal, or the now near-dead inland sea of Russia, the Aral. Or perhaps a certain petrochemical plant in north Fort Worth, that I myself know well, consisting of 20 acres or so of land, seared so violently by pollution in the last few decades, that I doubt the Thirtieth century since Christ will see a sprig of grass there, much less the Twenty-first— representative all, with still more unmentioned besides. They exist because they are profitable, and in that word—profitable—we find the first clue to the mentality that makes them possible. It 1 2 is the same mentality that makes of that “ethical vacuum,” noted above, a cultural norm. There are less dramatic instances of the sort of thing I am talking about. The lives of women in my parents’ generation—the generation about which I am here writing—were often marked by the same kind of exploitative behavior, and they still are much too often today. Certainly, in the relatively recent and even ongoing history of the struggle of African Americans and other ethnic and economic minorities for civil rights, we find epic stories of resistance to exploitation. Yet all of these exploitations are far from exceptional. Notable or not as matters of history, they are actually woven, more-or-less undetectably, into the fabric of our daily lives. They exist much less in the extraordinary, and more in the ordinary. We live embedded unbeknownst in the midst of vast ecological displacements, little short of the catastrophic, just as we lived, and live, embedded in the moral sloth of segregation. Things in my parents’ day were not so different from now as it may seem. Undeniably, such things are difficult to separate, strand from strand; it requires to do so something like R.G. Vliet’s “high linguistic and intuitive capabilities . to probe and release . individual and community psyches” (qtd. in Texas 105); “individual and community psyches” that have survived just such upheavals and dislocations. I hope to do that in the present work, and do it in such a way that the specific context of Texas will become representative of much more than itself merely, while also remaining true to the specific place and time. The present work is a short novel. It is written as a sort of inversion of the early Victorian/late Romantic “novel of sensibility,” where emotions are heightened and exaggerated, in order to increase the drama and emphasize the message. But this is a novel of insensibility. Rather than the challenge of heightening emotion, and exaggerating it, the problem here is how 3 to get it across without the characters themselves ever showing or stating it clearly, or indeed, ever being particularly aware consciously that they even have emotions. There is a kind of meanness that results, that has evolved in Texas (and probably elsewhere, too) from just such determined resistance to introspection. In Texas, it has now a stature approaching the institutional. It is visible in the much-much-worse-than-curmudgeonly utterance of assorted pundits and politicians, and I mean to show it in this novel. I mean to portray the origins of it, and the personal and social cost. Preliminary Questions of Genre The original conception of this story was very different from its final form. I had intended to write a novella, of no more than 50,000 words, and a series of six or so short stories, some of them completed in advance, all related to the history of one or two families settled in Jack County, Texas, in the region of the Keechi Valley, from about 1901, right up into the 1990s. But the story of the novella, encompassing the first quarter of the twentieth century, grew exponentially under my hand, topping out initially at better than 73,000 words. I was obliged to do away with both the planned and the completed short stories, and obliged also to rethink the genre in which I was writing. A novella, something like the “beautiful and blest” nouvelle of Henry James (Irwin 13), is defined by Holman and Harmon as a term “particularly applied to the early tales of Italian and French writers—such as the Decameron of Boccaccio.” The novella is of interest to students of English, because many English writers used Italian and French works as sources, and also because it is among the primary forms giving rise, in the eighteenth century, to the modern novel (Holman & Harmon 325). The term is applied also to a type of short novel developed in 4 Germany in the nineteenth century. More directly from the English—again according to Holman and Harmon—there is the “work of prose fiction of intermediate length between the short story and the novel” (321). “[The] novelette displays the compact structure of the short story with the greater development of character, theme, and action of the novel,” for example, “Melville’s Billy Budd” (324). An authority of more direct concern to the present project, Katherine Anne Porter, has this to say in the introduction to The Collected Stories of Katherine Anne Porter: Please do not call my short novels Novelettes, or even worse, Novellas. Novelette is a classical usage for a trivial, dime-novel sort of thing; Novella is a slack, boneless, affected word that we do not need to describe anything. Please call my works by their right names: we have four that cover every division: short stories, long stories, short novels, novels . [They] seem very clear, sufficient, and plain English. (vi) All of which is perfectly fine (and perfectly “plain English”) but I wonder if she meant to consign the work of Boccaccio to the status of the “slack, boneless,” and “affected,” much less Melville to the status of a “trivial, dime-novel sort of thing.” Melville’s valedictory The Confidence-man has so much resonance, after all, with Porter’s own novel, Ship of Fools. She is also somewhat at odds with Holman and Harmon, who put the novella much closer to the neoclassical Renaissance than they do the novelette. With the term short novel, I think she really refers to the sort of thing that Henry James did in The Turn of the Screw—very much novella or novelette- like; certainly, she elsewhere lionized James1. But she does not define her terms rigorously, content merely to dismiss an imprecise nomenclature for equally ill defined terminology of her 5 own.
Load more

Recommended publications
  • Origen De La Enfermería En El Cine: El Género Histórico-Documental Y Biográfico
    ORIGEN DE LA ENFERMERÍA EN EL CINE: EL GÉNERO HISTÓRICO- DOCUMENTAL Y BIOGRÁFICO José Siles González Universidad de Alicante INTRODUCCIÓN El cine y las películas constituyen una herramienta fundamental para transmitir los fe- nómenos humanos en toda su complejidad, sin renunciar a ninguna de las dimensiones que intervienen en los acontecimientos. Ya Terencio y Shakespeare formularon la famosa frase: «Nada de lo humano me es ajeno». La enfermedad, el dolor, la muerte forman parte de la na- turaleza humana y, más tarde o temprano, de una u otro forma, acaban arribando a la existen- cia de todos los seres humanos que experimentan sus vivencias de forma tan diversa como compleja; es decir, mediante un determinado tipo de estética experiencial. Al cine, nada de lo humano le es ajeno y, particularmente, aquellos fenómenos vinculados a situaciones que producen cambios notables en quienes las viven (enfermedades, dolencias, pérdidas, etc.). Carper (1999) incluyó la dimensión estética como la cuarta integrante de los cuatro niveles del conocimiento enfermero (empírico-científico, ético, personal y estético). Otros autores desarrollaron modelos basándose en estos diferentes patrones y reinterpretando el conoci- miento estético desde las necesidades tanto del paciente como de la práctica profesional de enfermería partiendo de la base de la pertinencia de la estética ante situaciones –como el sufrimiento ante la enfermedad– donde el pensamiento subjetivo adquiere una gran intensi- dad (Chinn, 1994). Debido a su potencial de configuración ideológica (Lebel, 1973), el cine ha desempeña- do un papel determinante en el desarrollo de clichés, estereotipos y en una amplia gama de modelado de todos aquellos asuntos que forman parte de la realidad histórica.
    [Show full text]
  • Circuit Rider
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2009 Circuit Rider Kimberley Harris Idol University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Fiction Commons, Literature in English, North America Commons, and the Modern Literature Commons Repository Citation Idol, Kimberley Harris, "Circuit Rider" (2009). UNLV Theses, Dissertations, Professional Papers, and Capstones. 1170. http://dx.doi.org/10.34917/2533726 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. 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. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. CIRCUIT RIDER by Kimberley Harris Idol Bachelor of Arts Mount St. Mary's College, Los Angeles 1989 Masters of Science Mount St. Mary's College, Los Angeles 1994 Masters of Arts California State University of Northridge, Reseda 2003 A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts in Creative Writing Department of English University of Nevada, Las Vegas Graduate College University of Nevada, Las Vegas May 2009 UMI Number: 1472418 Copyright 2009 by Idol, Kimberley Harris INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Critical Perspectives on the European Mediasphere
    THE RESEARCHING AND TEACHING COMMUNICATION SERIES THE RESEARCHING AND TEACHING COMMUNICATION SERIES CRITICAL PERSPECTIVES ON THE EUROPEAN MEDIASPHERE THE INTELLECTUAL WORK OF THE 2011 ECREA EUROPEAN MEDIA AND COMMUNICATION DOCTORAL SUMMER SCHOOL Ljubljana, 2011 CRITICAL PERSPECTIVES ON THE EUROPEAN MEDIASPHERE. The Intellectual Work of the 2011 ECREA European Media and Communication Doctoral Summer School. Edited by: Ilija Tomanić Trivundža, Nico Carpentier, Hannu Nieminen, Pille Pruulmann-Venerfeldt, Richard Kilborn, Ebba Sundin and Tobias Olsson. Series: The Researching And Teaching Communication Series Series editors: Nico Carpentier and Pille Pruulmann-Venerfeldt Published by: Faculty of Social Sciences: Založba FDV For publisher: Hermina Krajnc Copyright © Authors 2011 All rights reserved. Reviewer: Mojca Pajnik Book cover: Ilija Tomanić Trivundža Design and layout: Vasja Lebarič Language editing: Kyrill Dissanayake Photographs: Ilija Tomanić Trivundža, François Heinderyckx, Andrea Davide Cuman, and Jeoffrey Gaspard. Printed by: Tiskarna Radovljica Print run: 400 copies Electronic version accessible at: http://www.researchingcommunication.eu The 2011 European Media and Communication Doctoral Summer School (Ljubljana, August 14-27) was supported by the Lifelong Learning Programme Erasmus Intensive Programme project (grant agreement reference number: 2010-7242), the University of Ljubljana – the Department of Media and Communication Studies and the Faculty of Social Sciences, a consortium of 22 universi- ties, and the Slovene Communication
    [Show full text]
  • The University of Wisconsin – Eau Claire “Flirting and Boisterous Conduct Prohibited”: Women's Work in Wisconsin Circuse
    THE UNIVERSITY OF WISCONSIN – EAU CLAIRE “FLIRTING AND BOISTEROUS CONDUCT PROHIBITED”: WOMEN’S WORK IN WISCONSIN CIRCUSES: 1890-1930 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS IN CANDIDACY FOR THE DEGREE OF BACHELOR OF ARTS DEPARTMENT OF HISTORY BY REBECCA N. REID EAU CLAIRE, WISCONSIN MAY 2010 Copyright © 2010 by Rebecca N. Reid All rights reserved Because I was born a member of the so-called weaker sex and had to work out some kind of career for myself… -Mabel Stark, tiger trainer CONTENTS LIST OF ILLUSTRATIONS . vi GLOSSARY . .vii ABSTRACT . .ix Step Right Up! . 2 Wisconsin: Center of the Circus World. .7 How Many Women?. 8 Circus Women in Popular Media . 11 Circus Propaganda?. .12 “The Circus Girl is Industrious”. .14 Notable Circus Woman: Mayme Ward . 15 Sunday School Show . 16 Family Connections . 18 Notable Circus Women: The Rooneys . .19 Bare Legs and Bloomers . 20 Vaudeville and Burlesque. .21 Hoochie Coochie Girls and Grifters . .23 Freaks . .24 City on a Train . 26 The Dining Tent . 28 Queen’s Row . 29 Salaries and Wages . .32 iv The Tent, Folded . .36 APPENDIX . 38 BIBLIOGRAPHY . 43 v ILLUSTRATIONS Figures 1. Mayme Ward, catcher . .15 2. Lizzie Rooney, 1898 . .19 vi GLOSSARY ballyhoo. A sideshow performer that came out of the sideshow tent to entice marks; often a scantily clad woman, either a snake charmer or tattooed lady. ballet girl. A young woman who appeared in the opening spectacle or parade. Little dancing skill was required of ballet girls, as their primary job was to look pretty and entice customers to buy a ticket to the circus.
    [Show full text]
  • Cirque Mechanics Study Guide
    Prepared by Aida Lashua & Skye Strauss - INTRODUCTION - 42ft is inspired by the mid-1930’s circus “big top,” including the “period” costumes and the music. It takes us backstage and allows the audience to witness “a day in the life of a 1930’s circus performer.” THIS GUIDE HAS THREE DISCUSSION SECTIONS • CIRCUS HISTORY & PRODUCTION INSPIRATION • A brief introduction to historical circus will help students understand circus life and customs as they appear in the production. They will also learn how circus turns of phrase have become familiar idioms. • This section also introduces artists that inspired the creators of 42ft from across media platforms. These include LIFE Magazine’s photographs of the 1930’s, Charlie Chaplin’s films, and Sarah Gruen’s novel Water for Elephants. • HISTORY AND SOCIAL STUDIES: THE GREAT DEPRESSION • The time period for this show coincides with The Great Depression, framing circus as an important form of popular entertainment and contextualizing it in a wider conversation about arts funding through the WPA. • THE SCIENCE OF CIRCUS: NEWTONS LAWS & SIMPLE MACHINES • For the acrobats, performing extraordinary feats requires an understanding of basic principles of physics including inertia, momentum, and centrifugal force. The contraptions in the show are based on simple machines that rely on the same principles to help the acrobats fight against gravity. - GUIDE 1 OF 3 - CIRCUS HISTORY AND PRODUCTION INSPIRATION - CIRCUS HISTORY - The Circus Ring: One of the most popular misconceptions is that circus dates back to Roman antiquity. But the Roman circus was actually the precursor of the modern racetrack; there are only a few common denominators between Roman and modern circuses.
    [Show full text]
  • Contemporary Indigenous Women's Fiction from the Pacific: Discourses of Resistance and the (Re)Writing of Spaces of Violence and Desire
    DOCTORAL DISSERTATION Contemporary Indigenous Women's Fiction from the Pacific: Discourses of Resistance and the (Re)Writing of Spaces of Violence and Desire Ana Cristina Gomes da Rocha 2021 International Mention Ana Cristina Gomes da Rocha DOCTORAL DISSERTATION Contemporary Indigenous Women's Fiction from the Pacific: Discourses of Resistance and the (Re)Writing of Spaces of Violence and Desire Supervised by Dr. Belén Martín Lucas 2021 International Mention International Doctoral School Belén Martín Lucas DECLARES that the present work, entitled “Contemporary Indigenous Women's Fiction from the Pacific: Discourses of Resistance and the (Re)Writing of Spaces of Violence and Desire”, submitted by Ana Cristina Gomes da Rocha to obtain the title of Doctor, was carried out under her supervision in the PhD programme “Interuniversity Doctoral Programme in Advanced English Studies.” This is a joint PhD programme integrating the Universities of Santiago de Compostela (USC), A Coruña (UDC), and Vigo (UVigo). Vigo, January 21, 2020. The supervisor, Dr. Belén Martín Lucas Acknowledgments Gratitude. I am grateful. Those are the expressions that best describe my state of mind when looking at this Dissertation. I am grateful that I have been always surrounded by those who never cease(d) to believe in me, by people whose love and support made this journey easier. I would like to say thanks: To my supervisor, Dr. Belén Martín Lucas, whose kindness, wise advice, patience, and unconditional belief in me, and in this project were fundamental along the process. Thank you for holding my hand until I finally believed that I could do this. Thank you for finding meaning in my tangential ideas.
    [Show full text]
  • Ulysses, Episode XII, "Cyclops"
    I was just passing the time of day with old Troy of the D. M. P. at the corner of Arbour hill there and be damned but a bloody sweep came along and he near drove his gear into my eye. I turned around to let him have the weight of my tongue when who should I see dodging along Stony Batter only Joe Hynes. — Lo, Joe, says I. How are you blowing? Did you see that bloody chimneysweep near shove my eye out with his brush? — Soot’s luck, says Joe. Who’s the old ballocks you were taking to? — Old Troy, says I, was in the force. I’m on two minds not to give that fellow in charge for obstructing the thoroughfare with his brooms and ladders. — What are you doing round those parts? says Joe. — Devil a much, says I. There is a bloody big foxy thief beyond by the garrison church at the corner of Chicken Lane — old Troy was just giving me a wrinkle about him — lifted any God’s quantity of tea and sugar to pay three bob a week said he had a farm in the county Down off a hop of my thumb by the name of Moses Herzog over there near Heytesbury street. — Circumcised! says Joe. — Ay, says I. A bit off the top. An old plumber named Geraghty. I'm hanging on to his taw now for the past fortnight and I can't get a penny out of him. — That the lay you’re on now? says Joe.
    [Show full text]
  • DEVELOPING a HAUNTOLOGY of the BLACK BODY Kashif Jerome
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository SPECTERS AND SPOOKS: DEVELOPING A HAUNTOLOGY OF THE BLACK BODY Kashif Jerome Powell, MA A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Department of Communication Studies. Chapel Hill 2014 Approved by: Renee Alexander-Craft Ashley Lucas Della Pollock Alvaro Reyes Eric King Watts © 2014 Kashif Jerome Powell ALL RIGHTS RESERVED ii ABSTRACT Kashif Jerome Powell: Specters and Spooks: Developing a Hauntology of The Black Body (Under the direction of Dr. Renee Alexander-Craft) This dissertation utilizes theories of embodiment and performance to develop a “hauntology of blackness,” which investigates imaginative sites of death constructed through the historical, social, and performative facets of institutional slavery in the United States to theorize notions of blackness and the black body. I argue that the relationship between the black body and death have conjured a death-driven specter that manifest historically, performatively, visually, and phenomenally as blackness. The rise and continual return of this “specter of blackness” positions the black body in the United States as a body “haunted” by its own biological and phenotypical disposition. Placing the theory of Jacques Derrida and Frantz Fanon in conversation with scholars such as Avery Gordon, Saidiya Hartman, Toni Morrison, and others, I evoke the language of haunting to consider the profound effect the relationship between the black body and death has had on ontological, psychoanalytic, and phenomenological understandings of blackness within post-modernity.
    [Show full text]
  • The Stabbing of George Harry Storrs
    THE STABBING OF GEORGE HARRY STORRS JONATHAN GOODMAN $15.00 THE STABBING OF GEORGE HARRY STORRS BY JONATHAN GOODMAN OCTOBER OF 1910 WAS A VINTAGE MONTH FOR murder trials in England. On Saturday, the twenty-second, after a five-day trial at the Old Bailey in London, the expatriate American doctor Hawley Harvey Crippen was found guilty of poi­ soning his wife Cora, who was best known by her stage name of Belle Elmore. And on the following Monday, Mark Wilde entered the dock in Court Number One at Chester Castle to stand trial for the stabbing of George Harry Storrs. He was the second person to be tried for the murder—the first, Cornelius Howard, a cousin of the victim, having earlier been found not guilty. The "Gorse Hall mystery," as it became known from its mise-en-scene, the stately residence of the murdered man near the town of Stalybridge in Cheshire, was at that time almost twelve months old; and it had captured the imagination of the British public since the morning of November 2, 1909, when, according to one reporter, "the whole country was thrilled with the news of the outrage." Though Storrs, a wealthy mill-owner, had only a few weeks before erected a massive alarm bell on the roof of Gorse Hall after telling the police of an attempt on his life, it did not save him from being stabbed to death by a mysterious intruder. Storrs died of multiple wounds with­ out revealing anything about his attacker, though it was the impression of [Continued on back flap] THE STABBING OF GEORGE HARRY STORRS THE STABBING OF JONATHAN GOODMAN OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 1983 by the Ohio State University Press All rights reserved.
    [Show full text]
  • Chronological Table of Productions at the Theatre Royal
    1 CHRONOLOGICAL TABLE OF PRODUCTIONS AT THE THEATRE ROYAL 1884 17 - 20 December Richelieu 22 - 24 December Belphegor The Loan of a Lover 26 December-9 Jan Proof 1885 10 January The Lady of Lyons 12 - 17 January The Duke’s Motto 19 - 21 January East Lynne 22 - 23 January Leah 24 - 30 January Richard III 31 January The Stranger Robert Macaire 2 - 6 February Ambition (Catherine Howard) 7 February William Tell East Lynne 9 - 21 February Never Too Late to Mend 23 - 28 February Drink 2 - 4 March Macbeth 5-7 March Hamlet 9 - 14 March The Danites 16 - 20 March Streets of London 21 March Don Caezar de Bazan Black Eyed Susan 23 - 25 March The Octoroo 26 - 27 March The Merchant of Venice The Royalist and the Republican 28 March The Bells Black Eyed Susan 30 March - 1 April The Colleen Bawn 2 April Ingomar The Watermen 3 April CLOSED (GOOD FRIDAY) 4 April Othello 6 - 11 April Mazeppa The Little Pest 13 - 14 April Othello 15 - 16 April Belphegor 17 April Ingomar 18 April Pizarro Cartouche 20 - 22 April Ticket of Leave Man 23 April The Honeymoon Withered Leaves 24 April Ticket of Leave Man 25 April - 1 May Forsaken 2 May The Beggar’s Petition Forsaken (two acts) 4 - 5 May Rob Roy 2 6 May The Shaughraun 7 May Don Caesar de Bazan 8 May The Shaughraun 9 May The Devil in Paris Poor Joe 11 May Chevalier St George 12 May Richelieu 13 May Hamlet 14 May Romeo and Juliet 15 May Richard III 16 May Romeo and Juliet 18 - 20 May My Comrade 21 May Arra-na-pogue 22 May My Comrade 23 - 30 May Uncle Tom’s Cabin 1 - 13 June My Sweetheart 15 - 20 June Mardo 22 June -
    [Show full text]
  • Soldiersf Humour Have Appeared Since World War Two
    This manusui@ has ben mpduœâ from aie rnicmfilm master. UMI films the text directly from the original or copy suknitted. Thus, some thesis and dissertation copies are in typmhbr face, whik rnay be from any type of cornputer pnnter. The quality dthk irpFoductkn b d.p.nd.ntuponüm quaiity dths copy submitted. Brolten or indistinct *nt, cdomd or poar quality illustratioris and photognphs. pnnt bbdlhrough. substgndrd mwgins. and irnpqmr dignment can adversely affect reploductiori. In the unlikely event that the author did not send UMI a cornpiete manuscript and there are missing w,these Ml be noted. Also, if unaUttKHiZed copyright material had to be mrnovoâ, a note will indiie the âddion. Ovenue materials (e-g.. maps. d-ngs, charts) are mpdwdby secüoning the original, beginning at ttie upper lefthmâ corner and conb'nuing from left to tight in equal sections with small ovwiaps. Photographs induded in the original manuscript have been reprdd xerogaphically in this copy. Higkquality 6. x W bladr and Miphobgfaphi~ prints are avaiiabie for any photographs or illusüaüom -ring in mis wpy for an additional charge. Contact UMI diribdly to order. Ml&Hdl Infomiatiori and Leaming 300 North teeb Road, Ann Arbor, MI 41-1346 USA CANADIAN MILITARY HUMOUR A Perspective on Canadian Army Humour During World War Two and Korea by Major W.A. Leavey A thesis submitted to the Department of English, Royal Military College of Canada, Kingston, Ontario In partial fulfillrnent of the requirements for the degree of Master of Arts Kingston, Ontario May, 1998 Copyright by W.A. Leavey, 1998 This thesis may be used within the Department of National Defence but copyright for open publication remains the property of the author.
    [Show full text]
  • Cirque Mechanics: Jan
    Cirque Mechanics: Jan. 17, 2020 Cirque Cirque Mechanics 42FT – A Menagerie of Mechanical Marvels Friday, Jan. 17, 7:30 p.m. Program Act One Act Two Opening Poster Wall Justin Finds the Circus Revolving Ladder Matinee Finale Rosebud Returns The Suitcase Animal Trainer Circus Parade Knife Throwing Wheel Charivari Sword Swallowing Juggling with Rosebud Slack Wire Duo Trapeze Strong Man Log Zombie Cape Russian Swing Strong Man Bowling Balls Justin Joins the Circus Bravado Brothers Finale Juggle Go Round There will be one 20-minute intermission between acts one and two. CIRQUE MECHANICS IS REPRESENTED BY PLEASE NOTE • Latecomers will be seated at the house manager’s discretion. • Photography and video recordings of any type are strictly prohibited during the performance. • Smoking is not permitted anywhere. CU Boulder is a smoke-free campus! · cupresents.org · 303-492-8008 C-1 energy led him to “run away” with his own circus Program notes company, Cirque Mechanics. About 42ft – A Menagerie of Lashua believes that innovative mechanical Mechanical Marvels apparatus and the relationship between performer and machine sets his company apart and is at the Forty-two feet in diameter has been the measure heart of what makes Cirque Mechanics unique. of the circus ring for 250 years. Englishman Philip Lashua has delivered on this approach in the Astley discovered that horses galloping inside this company’s theatrical productions. His innovative ring provide the ideal platform for acrobatic feats. machines interact with acrobats, dancers, jugglers These equestrian acrobatics, along with clowns and contortionists on a 1920s factory floor in and flyers, are a large part of what we’ve all come Birdhouse Factory, a gold rush-era town in Boom to know as the circus.
    [Show full text]