Shakespeare's Folly
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Asimov on Science Fiction
Asimov On Science Fiction Avon Books, 1981. Paperback Table of Contents and Index Table of Contents Essay Titles : I. Science Fiction in General 1. My Own View 2. Extraordinary Voyages 3. The Name of Our Field 4. The Universe of Science Fiction 5. Adventure! II. The Writing of Science Fiction 1. Hints 2. By No Means Vulgar 3. Learning Device 4. It’s A Funny Thing 5. The Mosaic and the Plate Glass 6. The Scientist as Villain 7. The Vocabulary of Science Fiction 8. Try to Write! III. The Predictions of Science Fiction 1. How Easy to See The Future! 2. The Dreams of Science Fiction IV. The History of Science Fiction 1. The Prescientific Universe 2. Science Fiction and Society 3. Science Fiction, 1938 4. How Science Fiction Became Big Business 5. The Boom in Science Fiction 6. Golden Age Ahead 7. Beyond Our Brain 8. The Myth of the Machine 9. Science Fiction From the Soviet Union 10. More Science Fiction From the Soviet Union Isaac Asimov on Science Fiction Visit The Thunder Child at thethunderchild.com V. Science Fiction Writers 1. The First Science Fiction Novel 2. The First Science Fiction Writer 3. The Hole in the Middle 4. The Science Fiction Breakthrough 5. Big, Big, Big 6. The Campbell Touch 7. Reminiscences of Peg 8. Horace 9. The Second Nova 10. Ray Bradbury 11. Arthur C. Clarke 12. The Dean of Science Fiction 13. The Brotherhood of Science Fiction VI Science Fiction Fans 1. Our Conventions 2. The Hugos 3. Anniversaries 4. The Letter Column 5. -
Downloading a Movie to Watch Together on a Saturday Night
ADMISSION: FIGURING THE EARLY MODERN THEATRE by EVE PREUS B.A. (Honors), The University of Washington, 2004 M.A., The University of British Columbia, 2008 A THESIS SUBMITTED IN PARTIAL FULLFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2017 © Eve Preus, 2017 Abstract Drawing from theories of the theatre that interrogate the master image/metaphor of theatre-as-life, my thesis “Admission: Figuring the Early Modern Theatre” develops a poetics of admission, or a theory of early modern theatrical form that takes into account its penchant for metatheatrical device and its obsession with the incorporation of strangers. What is a stranger? What might it mean to integrate the Other into the self and into society? The theatre stages a face-to-face encounter between two ostensible strangers—the performers and the audience. At the level of the medium, then, is an interest in the ways we come to know and let others in. The early modern stage was extremely interested in this process, self-consciously experimenting with, interrogating, and evaluating the tensions and possibilities inherent in the articulation of the human via live illusion. While the influx and management of strangers were growing concerns in the burgeoning metropolis of early modern London, the theatre became a sight to organize these concerns in a way that, perhaps unconsciously, returned them to their metaphysical origins. My thesis examines several early modern characters that are strangers, or become strangers, within the communities of their respective play realities: the deposed King Richard II; the outcast Jewish money-lender, Shylock; the bastard son of Troy, Thersites; and the revenge tragedians and madmen, Hieronimo and Hamlet. -
Shakespeare and Contagion – Abstracts
SAA2015 – Seminar 37 – Shakespeare and Contagion – Abstracts Seminar Leaders: Mary Floyd-Wilson (University of North Carolina) and Darryl Chalk (University of Southern Queensland) Sabina Amanbayeva University of Delaware [email protected] “Falstaff’s Poisonous Affects: Politics and Physiology in 1 Henry IV” My paper is focused on the formation of intimacy through laughter in Shakespeare’s 1 Henry IV (1597). Using the framework of historical phenomenology and affect studies, I show how Falstaff’s jokes about his own body can actually be read as physiological manipulation and a political act. Early modern texts consistently associate the formation of illicit attachments with the work of poison and the subtle cunning of underworld figures. For instance, Thomas Dekker’s cony-catching pamphlets The Belman of London (1608) and Lanthorn and Candle-light (1608) take it as their guiding principle that cony-catchers commit their villanies through “breathes” and “vapours” that insidiously spread everywhere. A similar tactic, I argue, is at work in 1 Henry IV, where Falstaff’s jokes, called “vain comparatives” in the play, re-structure the relationship between the body and its environment by his successive spinning of new metaphors and thus new ways to imagine relations between self and other. The word-play between Hal and Falstaff becomes then a sort of titillation, playing with the body, as their mutual witticisms and jokes successively touch and re-touch each other’s contours. The essay contributes to the on-going conversation on affect and intimacy by bringing to the fore the physicality of early modern laughter and its ability to work like “poison” or contagious “vapour” in its creation of illicit intimacies. -
The Validity of Hybridity in Derek Walcott's a Branch of the Blue Nile
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Academy Publication Online ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 9, No. 1, pp. 97-107, January 2018 DOI: http://dx.doi.org/10.17507/jltr.0901.12 The Validity of Hybridity in Derek Walcott’s A Branch of the Blue Nile Zohreh Ramin Department of English, University of Tehran, Tehran, Iran Monireh Arvin Department of English, Alborz Campus, University of Tehran, Alborz, Iran Abstract―With A Branch of the Blue Nile (1983) Derek Walcott makes a strong statement for the validity of a hybrid West Indian culture. He portrays the relation between European, specifically English, as well as American and African culture as one that should not be marked by a hierarchy, placing the central culture and languages at the top and African or mixed cultures/languages at the bottom. Walcott’s strategy here is to show that the so–called standards, Shakespeare’s ‘classical’ plays and their language are already of a hybrid nature, and any attempt to characterise them as homogenous entities and preserve them as such may ultimately result in their inertness. What threatens a civilisation or culture, according to Walcott, is not some form of hybridity, but rather the closing off or preservation of artistic forms from other foreign influences because it makes these artistic forms incapable of interacting with the surrounding cultural environment. The authors of this paper while appreciating all the orchestrated bonus of the existing relevant criticisms on hybridity towards Walcott’s A Branch of the Blue Nile intend to examine the use of Bakhtinian notions with regard to language exemplifying Bakhtin’s view of linguistic interanimation and his insights into the “polyglotic” and “heteroglotic” nature of the play. -
The Fools of Shakespeare's Romances
Sede Amministrativa: Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari (DISLL) SCUOLA DI DOTTORATO DI RICERCA IN: Scienze Linguistiche, Filologiche e Letterarie INDIRIZZO: Filologie e Letterature Classiche e Moderne CICLO XXVI “Armine... thou art a foole and knaue”: The Fools of Shakespeare’s Romances Direttore della Scuola : Ch.ma Prof.ssa Rosanna Benacchio Supervisore : Ch.ma Prof.ssa Alessandra Petrina Dottoranda : Alice Equestri Abstract La mia tesi propone un’analisi dettagliata dei personaggi comici nei romances Shakespeariani (Pericles, Cymbeline, The Winter’s Tale e The Tempest) in particolare quelli creati appositamente per Robert Armin, attore comico di punta dei King’s Men in quel periodo. Nel primo capitolo traccio la presenza di Armin nei quattro testi, individuando cioè gli indizi che rimandano alla sua figura e alla tipologia di comicità tipica dei suoi personaggi precedenti in Shakespeare e di quelli presenti nelle sue stesse opere. I quattro personaggi creati per lui da Shakespeare vengono analizzati in profondità nei seguenti capitoli, raggruppandoli a seconda dei loro ruoli sociali o professioni. Nel secondo capitolo mi occupo dei fools criminali, considerando Pericles e The Winter’s Tale, dove i personaggi di Boult e Autolycus sono rispettivamente un ruffiano di bordello e un delinquente di strada. Nel terzo capitolo mi concentro invece sui personaggi che esibiscono o vengono discriminati per una reale od imputata deficienza congenita (natural folly): il principe Cloten in Cymbeline e Caliban in The Tempest. Per ciascun caso discuto il rapporto del personaggio con le fonti shakespeariane ed eventualmente con la tradizione comica precedente o contemporanea a Shakespeare, il ruolo all’interno del testo, e il modo in cui il personaggio suscita l’effetto comico. -
Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court. -
Proposed Core Literature Titles Twelfth Night, Or, What You Will
Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will Author: William Shakespeare First Published: 2002 Lexile Level: 1140 Proposed Grade Level: 8 California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: Original Copyright: 1600 Grade Level Span: 9-12 Genre: Drama Classification: Classic Topic: English-Language Arts/General Discipline: English Language Arts/Vocabulary; Visual and Performing Arts Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother. -
Twelfth Night − Learning Pack Contents
Twelfth Night − Learning Pack Contents About This Pack ................................................................1 Background Information ..................................................2 Teaching Information ........................................................4 Adaptation Details & Plot Synopsis..................................6 Find Out More ...................................................................14 1 Twelfth Night − Learning Pack About This learning pack supports the National Theatre’s production of Twelfth Night, directed by Simon Godwin, which opened on 23rd February 2017 at the National’s Olivier Theatre in London. Our packs are designed to support viewing the recording on the National Theatre Collection. This pack provides links to the UK school curriculum and other productions in the Collection. It also has a plot synopsis with timecodes to allow you to jump to specific sections of the play. 1 Twelfth Night − Learning Pack Background Information Recording Date – 6th April, 2017 Location – Olivier Theatre, National Theatre Age Recommendation – 12+ Cast Viola.........................................................Tamara Lawrance Sebastian ..........................................................Daniel Ezra Orsino ............................................................... Oliver Chris Curio ...........................................................Emmanuel Kojo Valentine ...................................................... Brad Morrison Captain and Priest ...................................... James -
1. Shakespeare's Fools Costume Design
1. Shakespeare’s Fools Costume Design - Oliver Cronk, London College of Fashion Director - Caroline Williams Museum Location - The Dorothy and Michael Hintze Galleries The Fool questions, probes and provokes. He disrupts form to reveal truth. He is an agent that bends or gnaws at the ear of the powerful. Our Tribe of Fools revels in unearthing the hidden through lucid observation. It whispers, laughs and dances through the constraints of environments in which it exists. Our Tribe of Fools draws on characters from across Shakespeare’s plays (Feste, Touchstone, the Gravediggers and Lear’s Fool). Analysis of the characterization and narrative function of these figures has allowed us to essentialise a ‘stock’ fool, which serves a performative model for our work. As the Shakespearean fool disrupts and alters the narrative mechanics of the plays it inhabits, so our performance seeks to distort experience and question the environments in which it occurs, be they in provincial England, the V&A Sculpture Galleries or beyond. In addition to our live performance, we also present a short film interpretation of a journey made by Shakespeare’s own ‘fool’ collaborator, William Kempe. In 1601, Kempe danced the entire way from London to Norwich. In response, our fools dance the entire way back. 2. The Merry Owls of Windsock Costume Design - Max Johns, Bristol Old Vic School Museum Location - The John Madejski Garden “Why not reclaim our distinctively human heritage as creatures who can generate their own ecstatic pleasures out of music, colour, feasting, and dance?” (Barbara Ehrenreich) When designing costumes for Shakespeare’s Merry Wives of Windsor Max was persistently drawn to the final scene at Herne’s Oak. -
Shakespearean Supernatural Elements the Vast and Diverse
Shakespearean Supernatural Elements The vast and diverse powers in many forms of fiction feature characters attributed with superhuman, supernatural, or paranormal abilities, often referred to as ―superpowers‖ (also spelled ―super powers‖ and ―super-powers‖) or ―powers‖. The supernatural has been claimed to exist, which cannot be explained by the laws of nature, including things characteristic of or relating to ghosts, gods, or other types of spirits and other non-material beings, or to things beyond nature. Supernaturalism, as opposed to naturalism, is a belief in the supernatural in interpreting the world or attempting to control it. It can vary from those who believe that supernatural powers or entities are constantly or continuously intervening in the natural world to those who like Deists. Shakespeare‘s specific scenes focus the suspense and involvement of the supernatural. The use of witches, apparitions and ghosts are an important element in making the play interesting. Shakespeare has created immortal characters whose characteristics transcends those of the normal supernatural beings, but most students of literature agree that his uses of the supernatural aren‘t merely figments of his creative imagination. Every man, woman, and child is influenced by the age into which they are born and Shakespeare was no exception. Not only does his use of supernatural elements within his works reveal the Elizabethans‘ obsession with mythical beliefs, but it also reveals his attitude toward these beliefs at different points of his writing career. Witches appear in Macbeth, a ghost appears in Hamlet, and fairies appear in A Mid- Summer Nights Dream. In addition, magic cures are given in All‘s Well, evil curses are chanted in Richard III, and prophecies are told in Julius Caesar. -
Introduction to the Retro Hugo Awards for 1953
Retro Hugo Awards for 1953 1 Introduction to the Retro Hugo Awards for 1953 to be presented at Noreascon 4 September 2-6, 2004 2 Noreascon 4 1953 Retro Hugo Awards Table of Contents An Introduction by Andrew I. Porter......................................... 3 Identifying Items to Nominate by Joe Siclari ............................ 4 The Year of the Hugos by Juanita Coulson ............................... 5 Additional comments by Robert Silverberg.......................... 9 1953: The Good Ones by Don D’Ammassa.............................11 Short Fiction of 1953 by Mark L. Olson & Jim Mann ............ 15 Artists of 1953 by Alex Eisenstein .......................................... 17 Dramatic Presentations by Daniel M. Kimmel ........................ 27 Editor: Andrew I. Porter Asst. Editor & Layout: Joe Siclari Staff: Edie Stern From the WSFS Constitution: Section 3.13: Retrospective Hugos. (http://worldcon.org/bm/const-2002.html) A Worldcon held 50, 75, or 100 years after a Worldcon at which no Hugos were presented may conduct nominations and elections for Hugos which would have been presented at that previous Worldcon. Procedures shall be as for the current Hugos. Categories receiving insufficient numbers of nominations may be dropped. Once retrospective Hugos have been awarded for a Worldcon, no other Worldcon shall present retrospective Hugos for that Worldcon. “World Science Fiction Convention” “Worldcon” and “Hugo Award” are service marks of the World Science Fiction Society, an unincorporated literary society. “Noreascon” is a service mark of Massachusetts Convention Fandom, Inc. The Noreascon 4 logo uses a picture taken by the Hubble Space Telescope, made available by NASA and STScl. Copyright © 2003 by Massachusetts Convention Fandom, Inc. All Rights Reserved. Rights to all material are returned to the contributors upon publication. -
A Century of Polar Expedition Films: from Roald 83 Amundsen to Børge Ousland Jan Anders Diesen
NOT A BENE Small Country, Long Journeys Norwegian Expedition Films Edited by Eirik Frisvold Hanssen and Maria Fosheim Lund 10 NASJONALBIBLIOTEKETS SKRIFTSERIE SKRIFTSERIE NASJONALBIBLIOTEKETS Small Country, Long Journeys Small Country, Long Journeys Norwegian Expedition Films Edited by Eirik Frisvold Hanssen and Maria Fosheim Lund Nasjonalbiblioteket, Oslo 2017 Contents 01. Introduction 8 Eirik Frisvold Hanssen 02. The Amundsen South Pole Expedition Film and Its Media 24 Contexts Espen Ytreberg 03. The History Lesson in Amundsen’s 1910–1912 South Pole 54 Film Footage Jane M. Gaines 04. A Century of Polar Expedition Films: From Roald 83 Amundsen to Børge Ousland Jan Anders Diesen 05. Thor Iversen and Arctic Expedition Film on the 116 Geographical and Documentary Fringe in the 1930s Bjørn Sørenssen 06. Through Central Borneo with Carl Lumholtz: The Visual 136 and Textual Output of a Norwegian Explorer Alison Griffiths 07. In the Wake of a Postwar Adventure: Myth and Media 178 Technologies in the Making of Kon-Tiki Axel Andersson and Malin Wahlberg 08. In the Contact Zone: Transculturation in Per Høst’s 212 The Forbidden Jungle Gunnar Iversen 09. Filmography 244 10. Contributors 250 01. Introduction Eirik Frisvold Hanssen This collection presents recent research on Norwegian expedition films, held in the film archive of the National Library of Norway. At the center of the first three chapters is film footage made in connec- tion with Roald Amundsen’s Fram expedition to the South Pole in 1910–12. Espen Ytreberg examines the film as part of a broader media event, Jane Gaines considers how the film footage in conjunc- tion with Amundsen’s diary can be used in the writing of history, and Jan Anders Diesen traces the century-long tradition of Norwe- gian polar expedition film, from Amundsen up to the present.