14Th ESSE Conference Abstracts
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Civil War Guide1
Produced by Cincinnati Museum Center at Union Terminal Contents Teacher Guide 3 Activity 1: Billy Yank and Johnny Reb 6 Activity 2: A War Map 8 Activity 3: Young People in the Civil War 9 Timeline of the Civil War 10 Activity 4: African Americans in the Civil War 12 Activity 5: Writing a Letter Home 14 Activity 6: Political Cartoons 15 Credits Content: Barbara Glass, Glass Clarity, Inc. Newspaper Activities: Kathy Liber, Newspapers In Education Manager, The Cincinnati Enquirer Cover and Template Design:Gail Burt For More Information Border Illustration Graphic: Sarah Stoutamire Layout Design: Karl Pavloff,Advertising Art Department, The Cincinnati Enquirer www.libertyontheborder.org Illustrations: Katie Timko www.cincymuseum.org Photos courtesy of Cincinnati Museum Center Photograph and Print Collection Cincinnati.Com/nie 2 Teacher Guide This educational booklet contains activities to help prepare students in grades 4-8 for a visit to Liberty on the Border, a his- tory exhibit developed by Cincinnati Museum Center at Union Terminal.The exhibit tells the story of the American Civil War through photographs, prints, maps, sheet music, three-dimensional objects, and other period materials. If few southern soldiers were wealthy Activity 2: A War Map your class cannot visit the exhibit, the slave owners, but most were from activity sheets provided here can be used rural agricultural areas. Farming was Objectives in conjunction with your textbook or widespread in the North, too, but Students will: another educational experience related because the North was more industri- • Examine a map of Civil War America to the Civil War. Included in each brief alized than the South, many northern • Use information from a chart lesson plan below, you will find objectives, soldiers had worked in factories and • Identify the Mississippi River, the suggested class procedures, and national mills. -
Negotiating Ludic Normativity in Facebook Meme Pages
in ilburg apers ulture tudies 247 T P C S Negotiating Ludic Normativity in Facebook Meme Pages by Ondřej Procházka Tilburg University [email protected] December 2020 This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd/4.0/ Negotiating ludic normativity in Facebook meme pages Negotiating ludic normativity in Facebook meme pages PROEFSCHRIFT ter verkrijging van de graad van doctor aan Tilburg University, op gezag van de rector magnificus, prof. dr. W.B.H.J. van de Donk, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie in de Portrettenzaal van de Universiteit op maandag 7 december 2020 om 16.00 uur door Ondřej Procházka geboren te Kyjov, Tsjechië Promotores: prof. J.M.E. Blommaert prof. A.M. Backus Copromotor: dr. P.K. Varis Overige leden van de promotiecommissie: prof. A. Georgakopoulou prof. A. Jaworski prof. A.P.C. Swanenberg dr. R. Moore dr. T. Van Hout ISBN 978-94-6416-307-0 Cover design by Veronika Voglová Layout and editing by Karin Berkhout, Department of Culture Studies, Tilburg University Printed by Ridderprint BV, the Netherlands © Ondřej Procházka, 2020 The back cover contains a graphic reinterpretation of the material from the ‘Faceblock’ article posted by user ‘Taha Banoglu’ on the Polandball wiki and is licensed under the Creative Commons Attribution- Share Alike License. All rights reserved. No other parts of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any other means, electronic, mechanical, photocopying, recording, or otherwise, without permission of the author. -
ORKNEY BOOKS CATALOGUE SEPTEMBER 2021 Please Email Queries to Bi [email protected] Or Telephone 07496 122658
ORKNEY BOOKS CATALOGUE SEPTEMBER 2021 Please email queries to bi [email protected] Or telephone 07496 122658 Around Orkney; A Picture Guide. Lerwick: Shetland Times Ltd, 2001. 1st Edition. ISBN: 1 898852 77 4. Very good. Softcover. (339) £2.00 Illustrated Guide to Orkney. Kirkwall: John Mackay, Ca 1918. Early guide published by the proprietor of Kirkwall and Stromness hotels (and with numerous adverts for the same). Some great photographs including the 'cromlech' at Brodgar and harbours at Stromness and Kirkwall. Scarce. Good +. Softcover. (3788) £20.00 Institute of Geological Sciences. One Inch Series. Scotland Sheet 120. Southampton: Director General - Ordnance Survey, 1932. Covers eastern part of Orkney Islands including Stronsay and Shapinsay. Based on the 1910 revision. Very good +. (1624) £5.00 Institute of Geological Sciences. One inch series. Scotland Sheet 122 - Sanday. Southampton: Director General - Ordnance Survey, 1932. Drift Edition. Based on the 1910 revision. Very good. (1628) £5.00 Magnus in Orkney Looking at Nature; A Story Book with Pictures to Colour. Kirkwall: Orkney Pre-School Play Association, 1989. ISBN: 0951356917. Small mark on front cover otherwise unused. Very good +. Softcover. (4961) £0.10 New North 2. The Magazine of Aberdeen University Literary Society. Aberdeen: Aberdeen University Literary Society, 1967. 1st Edition. With introduction to, and short piece of writing by, George Mackay Brown. Clean copy - some marking around the staples. Good. Softcover staple bound. (4824) £1.00 Orkney Economic Review No 17. Kirkwall: Orkney Islands Council, 1997. 1st Edition. Near fine. Softcover. (4957) £0.50 Orkney Heritage Volume 1. Kirkwall: Orkney Heritage Society, 1981. 1st Edition. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Ostrava Journal of English Philology
Ostrava Journal of English Philology Volume 8 • Number 1 • 2016 Ostrava OSTRAVA JOURNAL OF ENGLISH PHILOLOGY Contents Linguistics and Translation Studies Ondřej Procházka Cohesive Aspects of Humor in Internet Memes on Facebook: a Multimodal Sociolinguistic Analysis ......................................................... 7 Literature and Culture Zuzana Klímová Memory of a Landscape: Resurrection of the Past and a Community in the Works of Wilson Harris ........................................ 41 Gabriela Boldizsárová In Sycorax’s Kitchen: Metaphors of a Feeding Mother in Marina Warner’s Indigo ............................................. 63 Tomáš Jajtner Like a great Ring of pure and endless light: On mysticism in Henry Vaughan’s Silex Scintillans ................................... 79 Ladislav Sedlák The Construction of Gender in Hip Hop ...................................................... 97 Jakub Guziur Ezra Pound s bublinou: Tři komiksové podoby modernistického básníka ......................................... 109 Michal Kleprlík James Joyce a jeho hledání dokonalého jazyka .......................................... 127 3 Book Reviews Gabriela Zapletalová Language and Humour in the Media (Jan Chovanec & Isabel Ermida, eds.) ........................................................ 151 Jane Mattisson Ekstam The Lives of the Novel. A History (Thomas G. Pavel) ................................ 154 News, Announcements The Postmillennial Sensibility in Anglophone Literatures, Cultures and Media ......................................... -
Lot 0 This Is Our First Sale Catalogue of 2021. Due to the Current Restrictions
Bowler & Binnie Ltd - Antique & Collectors Book Sale - Starts 20 Feb 2021 Lot 0 This is our first sale catalogue of 2021. Due to the current restrictions, we felt this sale was the best type of sale to return with- welcome to our first ever ‘Rare & Collectable Book Sale’… Firstly, please note that all lots within this sale catalogue are used and have varying levels of use and age-related wear. However, we can inform that all entries have come from the same vendor, whom, was the owner of an established book shop. There are some new and remaining alterations that we are making to our sales, they are as follows: 1- There will continue to be no viewing for this sale. Each lot has a description based on the information we have. Furthermore, there are multiple images to accompany each lot (which can be zoomed in on). If there is a question you have (that cannot be answered through the description or images) please contact us via email. 2- The sale will continue to be held from home; however, we will be working with a further reduced workforce. We will be unable to answer phone calls on sale day and therefore ask that if you have a request for a condition report, that these are in by 12pm on Friday 19th and that all commission bids are placed by 7pm on this same date- anything received after these times, will not be accepted. 3- Due to our current reduced workforce and the restrictions, we are working with, we will only be able to pack and send individual books. -
"I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S
CHAPTER 4 "I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S. Miola Though ancient playwrights believed in different deities and ethical sys- tems, they too depicted human beings struggling with the gods, with fate and free will, crime and punishment, guilt and suffering. Sophocles (5th c. BC) portrays Oedipus, solver of the Sphinx's riddle and King of Thebes, who discovers that all along he has been fulfilling, not fleeing, the curse of Apollo and its dread predictions: "Lead me away, O friends, the utterly lost (ton meg' olethrion), most accursed (ton kataratotaton), and the one among mortals most hated (exthrotaton) by the gods!" (1341-43). In several plays that provided models for Macbeth, Seneca (d. 65 AD) presents men and women saying the unsayable, doing the unthinkable and suffering the unimaginable. The witch Medea slays her own children in a horrifying act of revenge. In contrast to Euripides Medea, which ends in a choral affirmation of Zeus's justice and order, Seneca's play concludes with Medea's transformation into something inhuman: she leaves the scene of desolation in a chariot drawn by drag- ons, bearing witness, wherever she goes, that there are gods, testare nullos esse, qua veheris, deos (1027). Driven mad by the goddess Juno, Seneca's Hercules in Hercules Furens kills his children, then awakens to full recognition of his deed in suicidal grief and remorse. These tragic heroes struggle against the gods and themselves. Such classical archetypes inform tragedy in the West, with Seneca especially shaping Elizabethan tragedy. Medea and Hercules Furens partly account for the child-killing so prominent in Macbeth. -
Herald May 2017
IB HERALD MAY 2017 1 // OPINION OH, THE PLACES YOU’LL GO! MARTIN YIP | 4 ON EDUCATION EVAN CHENG | 12 // INTERVIEWS A WORD FROM THE EDITOR “A SPACE FOR LIVE” MS. LESLEY CROFT Dear readers, JAMES LEE | 16 MR. NEIL HODGSON MR. CHRIS PERCY is issue is the result of a year of hard work, both from our editors and MS. JEAN LEE from our greatly talented writers. EVAN CHENG, RON MA | 21, 23, 25, 27 click to jump to page e IB Herald prides itself in providing opportunities for aspiring writers, even artists, to express themselves. is issue continues to strive towards that goal, and includes a wide array of articles. In the following pages, you MR. DAVID LEACH will nd discussions of Hong Kong’s political environment, the value of education, and the entertainment industry in Hong Kong; you will also MS. JULICE YEUNG encounter various teacher interviews, reviews of TV shows and even a MICHAEL LAU, JEFFREY LAU | 29, 32 commentary on arthouse cinema. Of course, you will also hear from our aspiring artists — or photographers. is issue marks the nal issue of my term as Layout Editor and Edi- tor-in-Chief, before I hand the publication over to a group of bright and // ART & ENTERTAINMENT promising successors. As it so happens, both the quality and quantity of articles in this issue exceed those of the previous issue; our magnum opus, SO YOU WATCH ARTHOUSE CINEMA? if you will. And of course, I am condent that the issues to come will set the bar even higher. -
(Non-)Sense in King Lear by Carolin Roder
Wissenschaftliches Seminar Online Deutsche Shakespeare-Gesellschaft Ausgabe 5 (2007) Shakespearean Soundscapes: Music – Voices – Noises – Silence www.shakespeare-gesellschaft.de/publikationen/seminar/ausgabe2007 Wissenschaftliches Seminar Online 5 (2007) HERAUSGEBER Das Wissenschaftliche Seminar Online wird im Auftrag der Deutschen Shakespeare-Gesellschaft, Sitz Weimar, herausgegeben von: Dr. Susanne Rupp, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) Prof. Dr. Tobias Döring, Institut für Englische Philologie, Schellingstraße 3 RG, D-80799 München ([email protected]) Dr. Jens Mittelbach, Staats- und Universitätsbibliothek Göttingen, Platz der Göttinger Sieben 1, 37073 Göttingen ([email protected]) ERSCHEINUNGSWEISE Das Wissenschaftliche Seminar Online erscheint im Jahresrhythmus nach den Shakespeare-Tagen der Deutschen Shakespeare-Gesellschaft und enthält Beiträge der Wissenschaftler, die das Wissenschaftli- che Seminar zum Tagungsthema bestreiten. HINWEISE FÜR BEITRÄGER Beiträge für das Wissenschaftliche Seminar Online sollten nach den Richtlinien unseres Stilblattes formatiert sein. Bitte laden sie sich das Stilblatt als PDF-Datei von unserer Webseite herunter: http://www.shakespeare-gesellschaft.de/uploads/media/stilblatt_manuskripte.pdf Bitte senden Sie Ihren Beitrag in einem gebräuchlichen Textverarbeitungsformat an einen der drei Herausgeber. INTERNATIONAL STANDARD SERIAL NUMBER ISSN 1612-8362 © Copyright 2008 Deutsche -
Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1
Notes Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1 . “Inhabiting,” as distinct from “residing,” suggests haunting; it is an uncanny form of “residing.” See also, for instance, Derrida’s musings about the verb “to inhabit” in Monolingualism (58). For reflections on this, see especially chapter 4 in this book. 2 . Questions of survival are of course central to Derrida’s work. Derrida’s “classical” formulation of the relationship between the living-on of a text and (un)translat- ability is in Parages (147–48). See also “Des Tours” on “the necessary and impos- sible task of translation” (171) and its relation with the surviving dimension of the work (182), a reading of Walter Benjamin’s “The Task of the Translator.” In one of his posthumously published seminars, he stresses that survival—or, as he prefers to call it, “survivance”—is “neither life nor death pure and simple,” and that it is “not thinkable on the basis of the opposition between life and death” (Beast II 130). “Survivance” is a trace structure of iterability, a “living dead machine” (131). To Derrida, what is commonly called “human life” may be seen as one of the outputs of this structure that exceeds the “human.” For a cogent “posthumanist” understanding of Derrida’s work, and the notion of the trace in particular, see Wolfe. 3 . There are of course significant exceptions, and this book is indebted to these studies. Examples are Wilson; Lehmann, Shakespeare Remains ; Joughin, “Shakespeare’s Genius” and “Philosophical Shakespeares”; and Fernie, “Introduction.” Richard Burt’s work is often informed by Derrida’s writings. -
Macbeth in World Cinema: Selected Film and Tv Adaptations
International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences. -
Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne Mcclelland University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne McClelland University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the English Language and Literature Commons Recommended Citation McClelland, Kellie Suzanne, "Macbeth in Film: Directorial Choices and Their mpI act on the Audience" (2017). Honors Theses. 534. https://egrove.olemiss.edu/hon_thesis/534 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. MACBETH IN FILM: DIRECTORIAL CHOICES AND THEIR IMPACT ON THE AUDIENCE by Kellie Suzanne McClelland A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by ____________________________________ Adviser: Professor Ivo Kamps ____________________________________ Reader: Senior Lecturer Peter Wirth ____________________________________ Reader: Professor Karen Raber © 2017 Kellie Suzanne McClelland ALL RIGHTS RESERVED ii To Dr. Ben McClelland for believing in me and encouraging me and supporting me on this, his Retirement Year, as well as every other time of my life. Thanks for it all. I love you, Daddy. iii ACKNOWLEDGEMENTS First and foremost, I owe my family, friends, and Him from whom all blessings flow my deepest gratitude for providing comfort and encouragement throughout this arduous journey that has become my thesis.