171,144 research outputs found
World War I record of service survey for Dean O. Carr, signed 21 August 1922
No full textQuestionnaire about Dean Orris Carr's service in World War I, 1917-1919, signed by Carr on 21 August 1922.Questionnaire originally part of a survey of Norwich University alumni conducted by a “Norwich in the World War” committee consisting of Charles N. Barber (chairman), Carl V. Woodbury, K.R.B. Flint, and Gustaf A. Nelson. Data from these questionnaires may have been used in a chapter of "Vermont in the world war, 1917-1919" by Harold P. Sheldon (1928). Transcription by Carina Berg. Transcriptions may be subject to error
(1) Dark was the night the children slept; (2) Little Boy Blew come blow me your horn; (3) A poor soul sat sighing under a sycamore tree; (4) Stay sweet enchanter of the grove leave not so soon thy native tree First line of chorus for (3) O Willow Willow Willow Willow sing o the green Willow [first line]
No full text(1) strophic; (2) through-composed; (3) strophic with chorus; (4) strophicpiano and voiceJohns Hopkins University, Levy Sheet Music Collection, Box
029, Item 008bSelected and Composed by Benjamin Carr, except for (4), composed by R. Spofforth.(1) Sung by Miss Broadhurst in The Italian Mon
(1) Dark was the night the children slept; (2) Little Boy Blew come blow me your horn; (3) A poor soul sat sighing under a sycamore tree; (4) Stay sweet enchanter of the grove leave not so soon thy native tree First line of chorus for (3) O Willow Willow Willow Willow sing o the green Willow [first line]
No full text(1) strophic; (2) through-composed; (3) strophic with chorus; (4) strophicpiano and voiceJohns Hopkins University, Levy Sheet Music Collection, Box
029, Item 008bSelected and Composed by Benjamin Carr, except for (4), composed by R. Spofforth.(1) Sung by Miss Broadhurst in The Italian Mon
[Carr Boyd 1880 Queensland border] [cartographic material] : [return part of route traversed by North-Western Exploration Party led by W.O. Hodgkinson 1876, The Bluffs to Lake Mary]/
No full textFacsimile copy of ms. map with ms. corrections, of N.T.-Qld. border area, Birdsville to Camooweal, showing detail for route only, along the Mulligan and Georgina Rivers. Detail includes camps, water courses and water holes, relief by hachures and notes on vegetation and topography.; Title proper from series ; subtitle supplied.; Map similiar to, with some details varying from: Map showing route transversed by North-Western Exploration Party commanded by W.O. Hodgkinson, Brisbane, 1877.; Series dated map at 1880 (corrections?) ; basic tracing drawn by 1878 when Wragge left the Surveyor-General's Office.; Photography of an originnal held by the Northern Territory Archives Service.; Added to original :"Vide page 226 of Votes & Proceedings of the Legislative Assembly (Queensland) Session of 1877, vol. 3." ie. Hodgkinson's report and map of expedition.; Original may relate to: Correspondence etc. re explorations of Mr. Carr Boyd (Proceedings of the Parliament of South Australia with copies of documents ordered to be printed ; P.P. 155, Vol. 4, 1885).; Also available online http://nla.gov.au/nla.map-vn1561143; Facsimile of Wragge's tracing of Carr-Boyd's untitled map, drawn [Adelaide : Surveyor-General's Office, 1878 ; corrected to 1880. [Southern sheet: Mr. Wilson's The Bluffs, Birdsville area, Qld. to Lake Nash area, N.T.] -- [Northern sheet: Toko Range to Rocklands Station and Lake Mary, Qld.]
Oh Sion, O Jerusalem Oh Sion, O Jerusalem [first line]
No full textthrough-composedpiano and voiceRespectfully Inscribed to His Friend, Horace Binney, EsquireCover is duplicated in 036.063b.Cover is duplicated in 036.063d.Cover is duplicated in 036.063f.Cover is duplicated in 036.063e.Cover is duplicated in 036.063c.Johns Hopkins University, Levy Sheet Music Collection, Box
036, Item 063aComposed, with an Accompaniment for the Harp or Piano Forte By B. Carr
Oh Sion, O Jerusalem Oh Sion, O Jerusalem [first line]
No full textthrough-composedpiano and voiceRespectfully Inscribed to His Friend, Horace Binney, EsquireCover is duplicated in 036.063b.Cover is duplicated in 036.063d.Cover is duplicated in 036.063f.Cover is duplicated in 036.063e.Cover is duplicated in 036.063c.Johns Hopkins University, Levy Sheet Music Collection, Box
036, Item 063aComposed, with an Accompaniment for the Harp or Piano Forte By B. Carr
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Bodas de sangre: en una adaptación de Marina Carr
No full textLa adaptación Blood Wedding de Marina Carr es, según su autora, “un baile con el dramaturgo español Federico García Lorca.” La presente traducción recrea fielmente cómo, sin limar la crudeza de la poesía de Lorca o la oralidad del acento andaluz, Carr traslada la obra lorquiana a las Tierras Medias de Irlanda, con la valentía y la experimentación formal que caracterizan su obra. La reescritura de Carr no solo dialoga con el clásico español, sino que lo reimagina desde una perspectiva moderna y feminista.
La presente traducción, Bodas de Sangre, explora el faccionalismo de las familias de dos amantes desafortunados. Este conflicto, alimentado por prejuicios de clase y etnia, e ideas irracionales de venganza tiene consecuencias trágicas. La traducción resalta la temprana preocupación de Lorca por la situación de las mujeres en la España previa a la Guerra Civil, un tema que Carr amplifica con su vena feminista y un humor cínico único. Además, la adaptación de Carr, que otorga a las mujeres una voz y agencia sin precedentes, se enriquece al conectar las raíces culturales de España e Irlanda, dos países marcados por el catolicismo y las heridas de sus guerras internas.
La traducción de la obra de Carr, con una identidad propia, merece ser atendida no solo por lo que tiene de tributo a Lorca, sino también por su capacidad de establecer un puente entre el pasado y el presente de Irlanda y España, creando una experiencia teatral que resuena con las luchas de género y las complejidades sociales universales hoy en día
Poetika díla Mariny Carr
No full textPredmetom tejto diplomovej práce írska dramatička Marina Carr (1964) a poetika jej kľúčového diela, takzvanej Midlandskej trilógie. prostredníctvom troch kľúčových dramatických textov jej tvorby. Maja, Portia Coughlanová a Pri Mačacej bažine…sú súčasťou, nazvanej podľa oblasti Midlands, ktorá je nielen rodiskom Carr, ale aj dejiskom týchto drám. Priestor krajiny a postavenie dramatickej osoby (Maja, Portia, Hester) voči tejto krajine, je kľúčom v interpretácii, ktorú predkladá táto práca. Jazero, rieka a bažina odzrkadľujú identitu troch protagonistiek, stávajú sa dejiskom ich následných samovrážd. Ďalej sa táto práca venuje prítomnosti mýtu v týchto dramatických textoch a spôsobu, akým Marina Carr pracuje s demytologizáciou matky, prostredníctvom mýtu o Médee. Kľúčové slová: írska dramatika, Marina Carr, Midlandská trilógia, Maja, Portia Coughlanová, Pri Mačacej bažine…, dramatický priestor, matka ako personifikovaná krajina, samovražda, identita, Médea, matka, mýtusThe subject of this diploma thesis is the Irish dramatist Marina Carr and her crucial set of plays within the body of her work, the Midlands trilogy (The Mai, Portia Coughlan, By the Bog of Cats…) This thesis aims to provide an analysis of the poetics of Marina Carr, mainly by analysis of the use of myth in her work and the usage of the landscape. Key words: Irish drama, Marina Carr, Midlands trilogy, The Mai, Portia Coughlan, By the Bog of Cats…, space, mother as a personified nation, suicide, identity, Medea, mother, mythDepartement of Theatre StudiesKatedra divadelní vědyFilozofická fakultaFaculty of Art
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