The Little Mermaid (1989)
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Masks Or Souls?: Halide Edib's Politics and Her Pacifism As A
ariel: a review of international english literature ISSN 0004-1327 Vol. 43 No. 4 Pages 97–122 Copyright © 2013 Masks Or Souls?: Halide Edib’s Politics and Her Pacifism as a Playwright Özlem Ezer Abstract: In this article, I discuss Halide Edib’s play Masks or Souls? (MOS) as anti-war literature by a Turkish female intellec- tual and activist who lived between the two World Wars. The ar- ticle provides a more complete portrayal of Edib, who has often been reduced to a nationalist novelist. I also argue that MOS con- tains autobiographical insights. There is evidence in MOS, for ex- ample, that Edib became a pacifist on the eve of the Second World War. Another war Edib fought was against the ideas and ideologies within the military and intellectual circles of Turkey. Through the actions and comments of several characters in the play, Edib also criticizes the reforms and westernization processes that took place immediately after the declaration of the Turkish Republic in 1923. Finally, I counter the neglect this play has suffered by calling into question some of the nation- and region-based hierarchies preva- lent in literary studies. In 1953, Halide Edib,1 a famous Turkish novelist, wrote a play in English called Masks or Souls? (MOS henceforth), based on an earlier, Turkish version of her play.2 The play offers an extensive, cynical cri- tique of ideologies of some contemporaneous governments (those of Turkey and Europe in particular) and the affairs that had been taking place in several countries like the founding of the League of Nations (which she supported) and some extreme right-wing movements (which she did not). -
The Sea Witch and the Fisherman's Wife Sometime
The Sea Witch and the Fisherman’s Wife Sometime in the gloom of the late nineteenth century, a town smokes between a black ocean and a sickly sky. Long ago in this forgotten place, a woman falls. * The fisherman's wife couldn't sleep and decided to amble up and down the seafront in the hope that dreams might find her. She was a feather of bones for her height with unusually bright red hair and a limp. She preferred the limp. For a while, the night seemed just like any other until she saw a naked woman on the beach. The stranger was pacing in the shallows with the moon strung above her head. She was fat, with large breasts and dimpled skin running up the backs of her thighs. The woman moved quickly and with violent plunges. The fisherman’s wife tightened her shawl and stepped onto the sand. But she retreated, for the woman bucked her head and howled. The sound was low and raspy, like a borrowed voice from a wild thing. Her belly bounced with every breath while her hair dangled like black seaweed. When the moon peaked between the rolling clouds, its light softened her freakishness. As if her skin was lined with silver velvet. An unexpected flush of shame overcame the fisherman's wife. She needed to go back to her husband. She would never tell him about the madwoman or the whore or whatever she may be. She would be her first secret. A small nod signified her resolve. Despite her resistance being slight, it was a stand, nonetheless. -
The Last Duchess of Buffalo
Adam Hoss The Last Duchess of Buffalo f all the residents in Shoreline Senior Center’s Alzheimer’s Wing, OGladys Rockwell was the most famous. Management tasked Ariel Ramirez with her around-the-clock care. “Because of your people skills,” Rachel said. Ariel peered over the counter, straining to glimpse next week’s sched- ule-in-progress on the screen. Julian assumed his customary pose behind the nurses’ station, folding chair propped at an angle, one foot on the closet door. The reflection of Gladys Rockwell’s Wikipedia page floated on his glasses. “She was in movies with Charlie Chaplin,” he said. “Here’s a picture of her with JFK.” Rachel slurped the remains of her Pepsi through a straw. “She’s a hellion.” “In 1949, she booked the Presidential Suite at the Paris Ritz but never checked in,” Julian said. “Later she clarified the suite was for her poodle.” Ariel understood that her assignment was no promotion. Gladys Rockwell’s arrival had transformed the nursing home staff into a hive of paparazzi. She carried with her suitcases of nostalgia and mystique, Oscar snubs, glamor shots, newspaper clippings of a storied life. The centenarian’s antics were enough to see her blacklisted from several area care centers in Buffalo, her hometown, and across upstate New York. I will endure this, Ariel told herself. “You know she’s a duchess?” Julian asked. “The Queen let her keep the title, even after her divorce.” Rachel held up her hand. “We get it.” Then, turning to Ariel, “Go see how our diva’s settling in.” * 9 red rock review Ariel had managed to find employment. -
Read an Excerpt
Excerpt Terms & Conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity of scripts. Family Plays haNs ChrisTiaN aNderseN’s The LiTTLe MerMaid Book by roseMary Nursey-Bray Music by arThur hoLLe © Family Plays The LiTTLe MerMaid “Imaginative, engrossing adaptation. A wonderful play for children, filled with mystery and delightful characters.” (Evaluation in CTAA Distinguished Play Award judging) Fantasy with optional music. Book by Rosemary Nursey-Bray. Music by Arthur Holle. Based on the story by Hans Christian Andersen. Cast: 6m., 11w., extras. Sun-Through-Water, a beautiful mermaid, falls in love with a handsome human. Through a spell cast by the wicked Sea Witch, the Little Mermaid grows legs and feet—but what a terrible price she has to pay. This dramatization of the Hans Christian Andersen fairy tale offers enchanting technical effects; the director’s script gives detailed suggestions for staging them. Premiered by Hartley College of Advanced Education in Australia. A director’s script is available with costume plates, suggestions for constructing costumes, details of preparing the black-light scenes, and instructions for designing a set that will provide smooth- flowing scene changes without interrupting the action. -
Double Lines
Page 2 Coastal Fisherman June 16, 2010 www.coastalfisherman.net next if the same thinking is red knot was “on the verge of applied to black sea bass or extinction”. While I admit that some other species. It will all these beautiful birds have DoubleDouble LinesLines end up in court, of course, but declined over the years, there it seems that regional council are still thousands of them, by Dale Timmons members and other which doesn’t seem to me like government or quasi- they are about to become government bodies that extinct in the near future. In the Recreational anglers, representatives of the regulate fishing would rather same story, the statement was charter and headboat Recreational Fishing Alliance be sued by fishermen’s groups made that the birds “subsisted operators, and local business (RFA) and others who opposed than by radical environmental entirely” on horseshoe crab owners all screamed in protest, the action say the vote was groups. Perhaps that says eggs. While it is true that they but last week the South based on bad science and a something about our lack of stuff themselves with the eggs Atlantic Fishery Management regulation that is being unity and lack of funding as in order to finish the last leg of Council (SAFMC) voted to replaced this fall. much as anything else. Stay their migration north, they also close almost 5,000 square miles Sound familiar? “Bad tuned… eat bean clams and other small of fishing grounds to all forms science” includes such things creatures along the surf line as of bottom fishing. -
Writers of the Storm
VOLUME 14 July 2020 In this issue: New Meteorologist in Charge: Ariel 2 Cohen, Ph.D. Welcome Michael Garberoglio! 3 Spring of 2020 Climate Review 3-4 Lightning Safety in Colorado 5-8 Snowpack Doesn’t Always Mean 9 Runoff What Does it Mean? 10 WFO PUEBLO WFO/ SOUTHEAST PUEBLO NEWSCOLORADO WRITERS OF THE STORM New Meteorologist in Charge: Ariel Cohen, Ph.D. Ariel E. Cohen, Ph.D., will be the new Meteorologist in Charge of the National Weather Service Forecast Office in Pueblo, CO starting in August 2020. He will be coming to the NWS Pueblo from his previous position of Science and Operations Officer (SOO) of NWS Miami, FL, where he has served as a leader for science inte- gration into NWS operations. Ariel’s formal NWS operational experience extends back to 2007, when he started as a meteorologist at NWS Great Falls, MT. After working in Great Falls from 2007 to 2008, he worked as a meteorologist at the Tropical Analysis and Forecast Branch of the National Hurricane Center, where he played an important role in their transition to creating forecasts using the Graphical Forecast Editor. In 2009, he became a meteorologist at NWS Jackson, MS, where he earned a Regional Director’s Award. From 2001 to 2017, Dr. Cohen was a fore- caster at the Storm Prediction Center (SPC) in Norman, OK, before moving to Kansas to serve as the SOO of NWS Topeka from 2017 to 2019, prior to becoming the NWS Miami SOO. Dr. Cohen received his Bachelor’s Degree in Atmospheric Sciences from The Ohio State University (2006) and his Master’s Degree and Doctorate in Meteorology from the University of Oklahoma (OU, 2008, 2015). -
Dark Tales: the Little Mermaid Rulebook
When the young mermaid turned fifteen, she was given permission to leave. She swam toward the sky that she could see over her head. With a spray of thousands of droplets, she raised above the sea’s surface, and saw on the deck of a magnificent caravel a young and handsome prince... Contents - A deck of 26 cards: ? 2 3 PRINCE SHIPWRECK LITTLE MERMAID 2 LM 1 P P/ / / • 24 Playing cards At the end of your turn, score 2VP if you have at least All players draw 1 card. You may play Take 1 Prince from the discard pile and play him. 1 Female in play in front of you. If she is a Princess 1 Male, Female, or Villain in front If there’s no Prince in the discards, take him from of you without activating it. or the Little Mermaid, score 1 additional VP. 3 any player. Draw 1 Pact. You may discard 1 Pact. 4 3 Discard 1 Magic Wand and 1 card from your hand to take 1 card of the same type from the discard pile and play it. 2 4 Discard 1 Armor and reveal 1 Villain from your hand to force all players to either give you 1 card from their hand or discard 2 VP. Discard 1 Gold Coin and 2 cards from your hand to score 4 VP. You may repeat this action any number of times. 5 Discard 1 Sword and any 1 Villain in play to score 5 VP; then, all players draw 1 card. A B • 2 Setting card for the basic game: A6 and B6 A6 B6 the ghost vessel the mage’s chest After the storm, a menacing galleon with torn sails ...and during the quest, they also learn about is advancing towards the coast. -
The Magic Shell: Seven Kingdoms Tale Part 1 by S.E. Smith
The Magic Shell: Seven Kingdoms Tale Part 1 By S.E. Smith Acknowledgments I would like to thank my husband Steve for believing in me and being proud enough of me to give me the courage to follow my dream. I would also like to give a special thank you to my sister and best friend Linda, who not only encouraged me to write but who also read the manuscript. Also to my other friends who believe in me: Julie, Jackie, Lisa, Sally, Elizabeth (Beth) and Narelle. The girls that keep me going! —S. E. Smith Paranormal Romance THE MAGIC SHELL: SEVEN KINGDOMS TALE Part 1 Copyright © 2016 by S. E. Smith First E-Book Published January 2016 Cover Design by Melody Simmons ALL RIGHTS RESERVED: This literary work may not be reproduced or transmitted in any form or by any means, including electronic or photographic reproduction, in whole or in part, without express written permission from the author. All characters, places, and events in this book are fictitious or have been used fictitiously, and are not to be construed as real. Any resemblance to actual persons living or dead, actual events, locales, or organizations are strictly coincidental. Summary: The Sea Witch, determined to keep her identity a secret, gives a magical shell to the one human who could use the knowledge against her, setting in motion a journey that will change his life forever. ISBN: (Paperback) ISBN: (eBook) Published in the United States by Montana Publishing. {1. Paranormal Romance. – Fiction. 2. Fantasy Romance 3. Paranormal – Fiction. 4. Romance – Fiction.} www.montanapublishinghouse.com Synopsis Ross Galloway is ready for a new life away from Yachats, Oregon. -
Red Eye, the Cauldron of Morning| a Study of the Later Poetry of Sylvia Plath
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Red eye, the cauldron of morning| A study of the later poetry of Sylvia Plath Laurel Ann Hebert The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Hebert, Laurel Ann, "Red eye, the cauldron of morning| A study of the later poetry of Sylvia Plath" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3377. https://scholarworks.umt.edu/etd/3377 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE EED EYE, THE CAULDRON OF MORNING: A STUDY OF THE LATER POETRY OF SYLVIA PLATH by Laurel A. Hebert B.A., Ualveralty of Oregon, 1962 Presented in partial fulfillment of thm requirements for the degree of Master of Arts UNIVERSITY OF MONTANA I960 Approved by: Chairman, Board of Examiners Graduate Sehool August 7, 1968 Date UMI Number: EP35599 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these wili be noted. Also, if material had to be removed, a note will indicate the deletion. -
Ethnography and the Hybrid Boy in Rudyard Kipling S "Kim"
Ethnography and the Hybrid Boy in Rudyard Kipling s "Kim" DON RANDALL T XHE SUGGESTION THAT Kim can be approached as an eth• nography immediately raises a question about Kipling's status as an ethnographer. As James Clifford observes in his introduction to Writing Culture: The Poetics and Politics of Ethnography, eth• nographic writing normally is governed by generic determina• tions and "is usually distinguishable from a novel or a travel account" (6). Clifford nonetheless acknowledges that eth• nography "is an emergent interdisciplinary phenomenon" that "blur[s] the boundary separating art from science" (3). The ethnographer, for Clifford, is a text-maker whose work inelucta- bly requires "expressive tropes, figures, and allegories that select and impose meaning as they translate it" (7). The textual prac• tices of ethnography and literary art thus are potentially compat• ible. If Kim is not an ethnography in the purest sense, it includes ethnography; it evidences an ethnographic project. The India of Kim is clearly not exotic back-drop or trompe l'œil conforming more to the urges of imagination than to the exigencies of cultural documentation and representation. This text provides ample evidence of what one might call the ethnographic im• pulse, the writerly drive to grasp and document cultural realities. If, as Arnold Krupat suggests, ethnographers most fundamen• tally, most crucially, are the "providers of data for the under• standing of other worlds" (80), then Kipling must be granted a certain status as an ethnographer. More specifically, one can consider Kipling an imperial eth• nographer. Invariably, as George Marcus avers, "closely observed cultural worlds are imbedded in larger, more impersonal sys• tems" ( 166), are written and must be read in integral relation to a ARIEL: A Reviexu of International English Literature, 27:3, July 1996 80 DON RANDALL determining "context of historical political economy" (167). -
Disney Sidekick
Sidekick Match Game PINOCCHIO THUMPER CINDERELLA PASCAL MULAN PUA ANNA ZAZU POCAHONTAS JIMINY CRICKET BAMBI MUSHU MUFASA OLAF PETER PAN FLOUNDER ALADDIN GUS GUS MOANA STITCH ARIEL ABU LILO FLIT RAPUNZEL TINKERBELL Draw a line from the character to their sidekick Love Interest Match Game Ariel Prince Charming Jasmine John Smith Cinderella Nala Pocahontas Prince Eric Aurora Flynn Rider Rapunzel The Prince Simba Jane Belle Prince Phillip Tarzan Aladdin Anna Lady Mulan The Beast Tramp Kristoff Snow White Li Shang Draw a lin e from the character to their lov e interest Match the Villain to the Movie Scar Beauty and the Beast Jafar Sleeping Beauty Cruella DeVil Peter Pan Captain Hook Snow White Maleficent The Jungle Book Gaston The Lion King The Evil Queen Hercules Shere Khan Frozen Mother Gothel Aladdin Hades Tangled Hans The Little Mermaid Queen of Hearts Alice in Wonderland Ursula 101 Dalmatians Dra w a line from the villain to the m ovie Sidekick ANSWER KEY PINOCCHIO JIMINY CRICKET CINDERELLA GUS GUS MULAN MUSHU ANNA OLAF POCAHONTAS FLIT BAMBI THUMPER MUFASA ZAZU PETER PAN TINKERBELL ALADDIN ABU MOANA PUA ARIEL FLOUNDER LILO STITCH RAPUNZEL PASCAL Draw a line from the character to their sidekick Love interest ANSWER KEY Ariel Prince Eric Jasmine Aladdin Cinderella Prince Charming Pocahontas John Smith Aurora Prince Phillip Rapunzel Flynn Rider Simba Nala Belle The Beast Tarzan Jane Anna Kristoff Mulan Li Shang Tramp Lady Snow White The Prince Draw a li ne from the character to their love interest Match the Villain ANSWER KEY Scar The Lion King Jafar Aladdin Cruella DeVil 101 Dalmatians Captain Hook Peter Pan Maleficent Sleeping Beauty Gaston Beauty and the Beast The Evil Queen Snow White Shere Khan Jungle Book Mother Gothel Tangled Hades Hercules Hans Frozen Queen of Hearts Alice in Wonderland Ursula The Little Mermaid Dra w a line from the villain to the movie. -
Chilling Adventures of Sabrina | Dialogue Transcript | S3:E6
CREATED BY Roberto Aguirre-Sacasa EPISODE 3.06 “Chapter Twenty-Six: All of Them Witches” Zelda attempts to forge a supernatural alliance, Sabrina and the gang work with Caliban, and Hilda's transformation takes a terrifying turn. WRITTEN BY: Joshua Conkel DIRECTED BY: Roxanne Benjamin ORIGINAL BROADCAST: January 24, 2020 NOTE: This is a transcription of the spoken dialogue and audio, with time-code reference, provided without cost by 8FLiX.com for your entertainment, convenience, and study. This version may not be exactly as written in the original script; however, the intellectual property is still reserved by the original source and may be subject to copyright. EPISODE CAST Kiernan Shipka ... Sabrina Spellman Ross Lynch ... Harvey Kinkle Lucy Davis ... Hilda Spellman Chance Perdomo ... Ambrose Spellman Michelle Gomez ... Mary Wardwell Jaz Sinclair ... Rosalind Walker Lachlan Watson ... Theo Putnam Gavin Leatherwood ... Nicholas Scratch Tati Gabrielle ... Prudence Night Adeline Rudolph ... Agatha Richard Coyle ... Father Faustus Blackwood Miranda Otto ... Zelda Spellman Sam Corlett ... Caliban Abigail Cowen ... Dorcas Glynis Davies ... Dezmelda P a g e | 1 1 00:00:10,010 --> 00:00:12,012 [intro theme music plays] 2 00:01:52,695 --> 00:01:55,698 Halt, sisters, and welcome. 3 00:01:55,782 --> 00:01:57,867 Welcome is for guests. 4 00:01:58,535 --> 00:02:01,996 You summoned us here against our will, Zelda Spellman. 5 00:02:02,080 --> 00:02:05,250 I did, Gryla. I summoned you here for the good of all witchkind. 6 00:02:05,333 --> 00:02:07,418 You are no longer safe on your own.