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Directions in Contemporary Literature CONTENTS to the Reader Ix PHILO M
Directions in Contemporary Literature CONTENTS To The Reader ix PHILO M. JR. BUCK 1. Introduction Fear 3 2. The Sacrifice for Beauty George Santayana 15 Professor of Comparative Literature, University of Wisconsin 3. A Return to Nature Gerhart Hauptmann 37 4. The Eternal Adolescent André Gide 59 OXFORD UNIVERSITY PRESS · New York 5. Futility in Masquerade Luigi Pirandello 79 6. The Waters Under the Earth Marcel Proust 101 (iii) 7. The New Tragedy Eugene O'Neill 125 8. The Conscience of India Rabindranath Tagore (vii) 149 COPYRIGHT 1942 BY OXFORD UNIVERSITY PRESS, 9. Sight to the Blind Aldous Huxley 169 NEW YORK, INC. 10. Go to the Ant Jules Romains 193 PRINTED IN THE UNITED STATES OF AMERICA 11. The Idol of the Tribe Mein Kampf 219 12. The Marxian Formula Mikhail Sholokhov 239 (iv) 13. Faith of Our Fathers T. S. Eliot 261 14. The Promise and Blessing Thomas Mann 291 ACKNOWLEDGMENTS A WORD must be said of appreciation to those who have aided me in this study. I would name 15. Till Hope Creates Conclusion 315 them, but they are too numerous. There are those who are associated with me in my academic A Suggested Bibliography 337 interests, and those who in one place or another have watched the genesis of the ideas that have Index (viii) 349 gone into these chapters. I must also acknowledge the aid I have received from the current translations of some of the authors, especially Mann and Proust and Sholokhov. In most of the other places the translations are my own. A word about the titles of foreign books: when the English titles are well known I have used them without giving the originals. -
Greek Tragedy Part I Professor Elizabeth Vandiver
Greek Tragedy Part I Professor Elizabeth Vandiver THE TEACHING COMPANY ® Elizabeth Vandiver, Ph.D. Co-Director, Honors Humanities Program, University of Maryland Elizabeth Vandiver did her undergraduate work at Shimer College, Mt. Carroll, Illinois, where she matriculated in 1972 as a sixteen-year-old “early entrant.” After receiving her B.A. in 1975, she spent several years working as a librarian before deciding to pursue graduate work in Classics at the University of Texas at Austin. She received her M.A. in 1984 and her Ph.D. in 1990. At the University of Maryland, Professor Vandiver co-directs the Honors Humanities program and teaches for that program and for the Department of Classics. Before coming to Maryland, she held visiting professorships at Northwestern University, where she taught from 1996 to 1999; the University of Georgia; the Intercollegiate Center for Classical Studies in Rome, Italy; Loyola University, New Orleans; and Utah State University. Her course on Classical Mythology has been particularly successful. In 1998, Dr. Vandiver received the American Philological Association’s Excellence in Teaching Award, the most prestigious teaching award available to American classicists. Other awards include the Northwestern University Department of Classics Excellence in Teaching award for 1998 and the University of Georgia’s Outstanding Honors Professor award in 1993 and 1994. Dr. Vandiver has published a book, Heroes in Herodotus: The Interaction of Myth and History, and several articles, and has delivered numerous papers at national and international conferences. She is currently working on a second book, examining the influence of the classical tradition on the British poets of World War I. -
Divide and Dissent: Kentucky Politics, 1930-1963
University of Kentucky UKnowledge Political History History 1987 Divide and Dissent: Kentucky Politics, 1930-1963 John Ed Pearce Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Pearce, John Ed, "Divide and Dissent: Kentucky Politics, 1930-1963" (1987). Political History. 3. https://uknowledge.uky.edu/upk_political_history/3 Divide and Dissent This page intentionally left blank DIVIDE AND DISSENT KENTUCKY POLITICS 1930-1963 JOHN ED PEARCE THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 1987 by The University Press of Kentucky Paperback edition 2006 The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University,Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Qffices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Pearce,John Ed. Divide and dissent. Bibliography: p. Includes index. 1. Kentucky-Politics and government-1865-1950. -
Xerox University Microfilms
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Ancient Greek Tragedy and Irish Epic in Modern Irish
MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katherine Anne Hennessey, B.A., M.A. ____________________________ Dr. Susan Cannon Harris, Director Graduate Program in English Notre Dame, Indiana March 2008 MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE Abstract by Katherine Anne Hennessey Over the course of the 20th century, Irish playwrights penned scores of adaptations of Greek tragedy and Irish epic, and this theatrical phenomenon continues to flourish in the 21st century. My dissertation examines the performance history of such adaptations at Dublin’s two flagship theatres: the Abbey, founded in 1904 by W.B. Yeats and Lady Gregory, and the Gate, established in 1928 by Micheál Mac Liammóir and Hilton Edwards. I argue that the potent rivalry between these two theatres is most acutely manifest in their production of these plays, and that in fact these adaptations of ancient literature constitute a “disputed territory” upon which each theatre stakes a claim of artistic and aesthetic preeminence. Partially because of its long-standing claim to the title of Ireland’s “National Theatre,” the Abbey has been the subject of the preponderance of scholarly criticism about the history of Irish theatre, while the Gate has received comparatively scarce academic attention. I contend, however, that the history of the Abbey--and of modern Irish theatre as a whole--cannot be properly understood except in relation to the strikingly different aesthetics practiced at the Gate. -
22 VII. the New Golden Age Then Something Wonderful Happened. Just When Everything Was Looking As Grim As It Could for the Art O
VII. The New Golden Age Then something wonderful happened. Just when everything was looking as grim as it could for the art of animation, technology came to the rescue. Here was an art form born only because technology made it possible, almost died when the human costs in time and effort became too high, and now was rescued by technology again. The computer age saved animation. Since computers first came on the scene in the 50s, there have been people who have tried to create machinery and programs to make animation faster, easier and cheaper to both make and distribute. From machines like copiers and scanners, to computers that can draw and render, to the distribution of animation by cable, Internet, phones, tablets and video games - as one character says, “To infinity and beyond” - animation has been totally reborn. As the old animators of the Golden Age were dying off, the new technologies created a huge demand for the old craft. Fortunately, many of the old men were able to pass on their skills to a younger generation, which has helped the quality of today's animation meet and exceed the animation of the Golden Age. In 1985, Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation.! The first live-action film to feature a complete computer-animated character is released, "YOUNG SHERLOCK HOLMES."! Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. In 1986, "A GREEK TRAGEDY" wins the Academy Award. -
Carols by Candlelight.Qxp
souvenir program 2006 Contents 3 Vision Australia’s message Throughout the world, millions of people are preparing to celebrate Christmas in their own way. Australia may be a 4 Meet Emily relatively young nation, but we still have our share of 5 A message from festive traditions – Vision Australia’s Carols by Candlelight® David Campbell being among the most cherished. 7 About Vision Australia It’s remarkable to think that this event, which draws thousands of people together here in the Sidney Myer The Lord Mayor’s message 8 Music Bowl, had such humble origins. The celebration 9 The Governor’s message was inspired by a lone caroller that radio announcer Norman Banks saw while strolling home from work on A message from 11 Christmas Eve 1937. The singer, an elderly woman, was the Nine Network sitting by a window, singing along as her radio piped out 12 Artists Away In A Manger, her face lit by a single candle. 23 Song list Today, almost 70 years after Banks organised the first Carols by Candlelight, that candle has grown into 25 Carol lyrics a sea of light, the solo voice a choir, the event a 40 Map Christmas custom. 41 Our sponsors For many of us, the weeks leading up to Christmas are the year’s busiest. There are presents to buy and 1 visitors to prepare for. But as of now, it’s time to relax and savour the joys of the season. Tonight kids can revel in the magic, while adults reconnect with the true meaning of Christmas. -
David Campbell Hosts Weekend Afternoons on Smoothfm
David Campbell hosts Weekend Afternoons on smoothfm David Campbell can be heard on Saturday and Sunday afternoons, from 1pm to 4pm, on smoothfm. David has featured on TV, starred in theatre and cabaret and is also a multi- platinum selling recording artist, having recorded three Top Ten albums, and performed sold out concert tours from coast to coast. He currently co- hosts Channel Nine’s ‘Today Extra’ alongside Sylvia Jeffreys. David was performing at the STC and Sydney Opera House by the age of 22 and in 1997 starred in a major revival of Les Miserables in Sydney. Shortly after, He moved to New York, and he became the youngest performer ever to headline the iconic cabaret room Rainbow & Stars. David was soon in demand from Broadway’s most prestigious writers and directors. Stephen Sondheim cast him in his musical Saturday Night, and he played leading roles in shows like Babes in Arms and South Pacific. In 2001 he returned to Australia for the role of Johnny O'Keefe in the musical Shout! and toured Australia with the show for over a year. David went on to star in Australian productions of classic musicals including Pirates of Penzance and Sunset Boulevard, which won him a Helpmann Award in 2005 for Best Actor. In 2016, he performed to sold out crowds as the lead in the stage show Dream Lover – The Bobby Darin Musical in Sydney, and in 2017-18, he helmed the show for the return of the Summer Musical at Melbourne’s State Theatre, making history as the highest selling show of all time at the Arts Centre. -
David Campbell
DAVID CAMPBELL David Campbell is one of Australia’s most popular and versatile entertainers. A proven television and radio host, he also headlines theatre, cabaret and concert performances, as well as being a multi-platinum recording artist. He was awarded the Medal of the Order of Australia as part of The Queen's Birthday 2019 Honours List for service to entertainment and the arts. In 2020, David received the Adelaide Cabaret Festival Icon Award, which acknowledges pioneering and leading figures who have had a significant impact on the Australian Cabaret industry. David is the popular co-host of the national Today Extra show for the Nine Network, as well as the beloved annual Christmas Eve broadcast of Carols by Candlelight and the Sydney Children’s Hospital, Randwick’s 2020 Gold telethon. Also for Nine, David was proud to host this year’s ANZAC day special event ‘Music from the Home Front’. In 2019 he co-hosted the Nine Network’s Weekend Today, as well as the high rating, relaunched Wonderful World of Disney. For radio, David presents his own top rating, national weekend afternoon radio show on Smooth FM and in print, David is a regular featured columnist in Stellar, News Corp’s popular Sunday magazine. Most recently, David released the albums ‘Baby it’s Christmas’ and ‘Back in the Swing’, both achieving instant chart success. 2019 saw David’s first national concert tour in many years, as he performed hits from ‘Back in the Swing’, along with many fan favourites. David is one of our leading musical theatre stars and has achieved similar success on the international stage, most notably captivating New York with his award winning cabaret show. -
The Treatment of Myth in Modern Drama
The Treatment ofMyth in Modern Drama (1923-1950): Towards a Typology ofMethods Aspasia Palouka Department of Drama Goldsmiths College of London University Thesis submitted for the degree of Doctor in Philosophy April,2005 Abstract of Thesis The Treatment ofMyth in Modern Drama (1923-1950): Towards a Typology of Methods Between the years 1923 and 1950, a great number of plays employed myth as subject matter or theme. The thesis examines this phenomenon in relation: a) to the modernist movement and its fascination with myth and mythological motifs, b) in relation to the efforts of modernist artists to find means appropriate to non-naturalistic modes of expression. Criticism up to now has surveyed myth-plays focusing on the thematic and ideological treatment of myths (psychoanalytic, religious, political, etc). This thesis proposes a new approach to this issue: it concentrates on techniques of incorporating myth in the structure of a play and on how myth functions within and through it. It identifies three prevailing techniques as methods. These methods form exclusive categories within the period under discussion. Therefore, plays are grouped according to method in order to explore a series of different dramaturgical strategies. Each of the three methods itself reflects a self-conscious attitude towards myth. Therefore, the thesis does not limit itself merely to investigating methods of incorporating myths into dramatic structures. It also examines the ideological sub stratum of those attitudes as they determine the discourses developed. 2 Table of Contents Acknowledgements 4 Dedication 5 1. Introduction 6 2. Joyce, Eliot and the Development of the 'Mythical Method' 24 3. -
The Reception of Ancient Greek Tragedy in England 1660- 1760
THE RECEPTION OF ANCIENT GREEK TRAGEDY IN ENGLAND 1660- 1760 Michael Waters, University College London Submitted for the degree of Doctor of Philosophy 1 I, Michael Waters confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT The dissertation enquires into some of the forms that the reception of ancient Greek tragedy took in England between 1660 and 1760. It looks at those critics and translators who engaged most with ancient Greek tragedy and whose engagement was accompanied by an interest in ancient theory and native English literature. Chapter 1, after examining works by George Gascoigne and Francis Kinwelmershe, Thomas Goffe, Thomas May and Christopher Wase, considers William Joyner’s original tragedy The Roman Empress (1670) in order to see what use Joyner made of Sophocles’ Oedipus and Euripides’ Hippolytus and Medea. Chapter 2 turns to the writings of, especially, John Dryden, Thomas Rymer, John Dennis and Charles Gildon, who were the most prolific and interesting commentators on dramatic theory in England at this time, and assesses their different perspectives on the questions of tragedy and the modern stage. Chapter 3 addresses separately comments on ancient Greek tragedy contained in Jeremy Collier’s attack on contemporary English theatre in A Short View of the Immorality, and Profaneness of the English Stage (1698) and in replies to him. Chapter 4 concentrates on Lewis Theobald’s translations of Sophocles’ Electra (1714) and Oedipus (1715) and how his views of ancient Greek tragedy influenced, and were influenced by, his interest in Shakespeare, an edition of whose plays he published in 1733. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Iphigenia in Adaptation: Neoclassicism, Gender, and Culture on the Public Stages of France and England, 1674-1779 Permalink https://escholarship.org/uc/item/7pq4w9t6 Author Wolfe, Rachel Margaret Eller Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Iphigenia in Adaptation: Neoclassicism, Gender, and Culture on the Public Stages of France and England, 1674-1779 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Rachel Margaret Eller Wolfe Committee in charge: Professor Simon Williams, Chair Professor Leo Cabranes-Grant Professor Leila Rupp March 2016 The dissertation of Rachel Margaret Eller Wolfe is approved. ________________________________________________ Leo Cabranes-Grant ________________________________________________ Leila Rupp ________________________________________________ Simon Williams, Committee Chair March 2016 Iphigenia in Adaptation: Neoclassicism, Gender, and Culture on the Public Stages of France and England, 1674-1779 Copyright © 2016 by Rachel Margaret Eller Wolfe iii ACKNOWLEDGEMENTS If there is one thing writing a dissertation about adaptation teaches you, it is that no work of writing emerges without the contributions of many human beings, both living and dead, without whose influence the text could not exist in the exact form it takes. This dissertation is no exception, and owes a great deal to the contributions of the people who inspired and assisted me during its writing. My committee members, Leo Cabranes-Grant, Leila Rupp, and especially Simon Williams, contributed greatly with their insightful and helpful feedback on my writing throughout the process, from prospectus to finished draft.