807,361 research outputs found
Manuscript: Recollections of Abraham Lincoln's Parents
No full textDr. Christopher Columbus Graham'sr ecollections of Abraham Lincoln's Parents, written out at Dr. Graham's dictation by Mr. Henry Whitney Cleveland of Kentucky and signed by Dr. Graham's own han
Saint Christopher in medieval Spanish literature
No full textThe thesis explores the legend of Saint Christopher as presented in four fourteenth- and fifteenth-сеntury manuscripts, the oldest extant Castillan accounts. Chapter One outlines the legend's origins in fourth-century Eastern Mediterranean culture, and its trajectory as far as its appearance in Jacobus de Voragine's Legenda aurea, commenting on the changes made to content and emphasis as the account evolved. The focus narrows in Chapter Two, where the transmission from Latin to Castillan is considered in detail, and comparisons drawn between the four vernacular accounts. Chapter Three and Four deal with thematic aspects of the legend as they appear in Spanish, including an exploration of die nature of Christopher in his dual portrayal as saint and monster, and the notions of fear, power and voice as they are depicted in the texts. The four medieval Spanish accounts are edited and presented here (three of them for the first time) in an appendix, complete with critical apparatus
CHRISTOPHER LEE Composer DOCTORAL RECITAL Monday, February 14, 2005 5:30 p.m. Lillian H. Duncan Recital Hall
No full textPlaylist: Jubilee Fanfare / Christopher Lee -- Three Songs / Christopher Lee -- Skywriting / Christopher Lee -- Mantra and Blues / Christopher Lee -- Viola Concerto / Christopher Lee.This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree
The historical imagination of Christopher Dawson
No full textChristopher Dawson (1889-1970) was one of his generation's most
important historians and religious thinkers, and was a significant
influence on many contemporaries including T.S. Eliot, C.S. Lewis,
and Russell Kirk. This dissertation is a study of his most
fundamental ideas concerning history and culture.
Chapter one examines Dawson’s sociological view of history.
Convinced that history was more than a scientific enterprise, he
believed that the true historian is one who reaches beyond the
material world to understand the essence of history’s dynamics. In
this way, the world can be conceptualized as a united whole,
separated by regional differences as a result of environment, race,
material, psychological, and religious factors. Dawson believed
that the political histories of the past several centuries failed to
grasp the undercurrents of historical change, and that the best way
to understand the past is to appreciate culture as an expression of
primeval religious traditions.
Chapter two treats Dawson’s understanding of progress. Dawson
was convinced that progress had become the “working-religion” of our
age. This secular faith, founded on scientific rationalism, first
pledged to fix the material failures of Western culture, but
unwittingly eroded its faith in God, and eventually, its moral
fiber. Dawson believed that true progress was progress of the soul
in its ordering toward the Creator.
Chapter three is a study of Dawson’s Christian, and more
specifically, his Catholic beliefs. Informed by religion, his
historical and cultural visions are not dogmatic, nor are they
polemical. He conceived of history as the unfolding of a divine
economy in the temporal world. Although Dawson is a proponent of
Roman Catholicism, his scholarship is an objective treatment of
history shaped by an undisguised, Christian worldview.
Additionally, the appendix is an introduction to Dawson’s life
and the circumstances surrounding his conversion to Roman
Catholicism. Particular attention is paid to the development of his
moral and historical imagination — both of which became intertwined to
form the basis of all of his scholarship
Christopher Marlowe
No full textCHRISTOPHER MARLOWE
Christopher Marlowe ( - )
Titelseite ( - )
J.P. Eckermann - Gespräche mit Goethe - Freitag, den 2. Januar 1824 ([1])
Heinrich Heine - Der Doktor Faust [mit Abb.] ([1])
Günther Klotz - "Was soll dies Schauspiel denn? Mephisto, sprich." [mit Abb.] ([2])
Karl Marx ([3])
Clive Barker - Das Stück ([3])
Der Text ([3])
Marlowes' Theater ([4])
Wissenschaft und die Universitäten [mit Abb.] ([5])
Faustus und die Magie ([6])
Christopher Marlowes Biografie ([6])
Franz Havemann ([7])
Clive Barker [mit Abb.] ([7])
Theaterzettel ( -
Coccolith
No full text'Coccolith' is an experimental film drama shot in the Ramsgate tunnels in Kent, UK. The site has long been a focus for local folklore, and central to a range of historical experiences in the maritime port city. Comprised of a railway tunnel constructed in 1863, a scenic railway tunnel built in 1936, and a network of air raid shelters dug in the late 1930s, this network of passageways extends over five kilometers under the city. The tunnels have a rich place in local mythology, offering filmmakers the building blocks of narrative. But what relationship does storytelling have to our immediate experience of a space that is empty and dilapidated, apparently stripped of its capacity to narrate?
The film seeks to investigate how audiovisual practices might represent the experience of the tunnel architecture in a manner that challenges conventional forms of realism. For a ruin offers a challenge to the realist recreation of history that is inherent in its structure: it embodies not its original form, but instead the deterioration of that form; not a historical moment, but instead our inexorable distance from that moment. Exploring issues of sexuality and identity post-Brexit, the film departs from typical storytelling conventions, depicting an imaginary realm in which devised performances evoke the unique history and feel of this eerie environment.
'Coccolith' is currently being submitted to film festivals internationally. It is one of several outputs from a larger audiovisual practice-as-research project exploring the creative representation of derelict or ruined space and architecture. An article discussing the film’s fusing of filmic and sonic approaches to practice-as-research is forthcoming in the journal 'Media Practice & Education', a book chapter on the directing of performance in the film will be published next year, and the film’s sound compositions are shortly to be released.
The film’s website provides further detail and contextualization:
https://www.coccolithfilm.co.uk/
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DIRECTOR'S STATEMENT
'Coccolith' takes its name from the microscopic calcite shells shed by ocean algae. They're tiny: to cover the face of a £1 coin, you’d need 400 million of them. When coccoliths accumulate on the sea bed over millions of years, they form chalk, the rock into which the Ramsgate Tunnels were dug. Chalk is visible in virtually every frame of our film, so the coccoliths are there too, if only our eyes were capable of seeing them.
Coccoliths not only constitute our film’s location, they also inspired our characters, who resemble shells of beings who once lived, shadows without an object. When Liam enters the tunnels, he discovers an array of lost souls. Are they unwitting spectres in a ghost story? Or are they caught in a series of sci-fi wormholes, passageways of compressed time?
The film is puzzling, and audiences looking for a conventional storyline or plot points will likely be frustrated. Characters come and go; most of them have no names; we are left to guess at their motivations and desires. Instead, I wanted to focus on shifting moods, on changing states, on the performers' immediate experience of these wonderful, scary, eerie tunnels. 'Coccolith' challenges the audience to respond to raw emotions which they may not understand.
The tunnels are the subject of countless local legends, and while I was not seeking to recreate these, history and folklore do creep into the drama obliquely. Chalk is, after all, an unmistakable national symbol. The White Cliffs of Dover, fifteen miles down the coast from Ramsgate, evoke British pride, strength, and resilience in the face of foreign adversity. But does chalk – with coccoliths as its secret constituent – have a darker side? Who might be excluded from its pristine beauty? Which of us, like Disco Woman, must yell defiantly into the dark?
In 2016, the gloomy year in which we entered the tunnels and started shooting, I did a lot of re-watching. I revisited 'A Matter of Life and Death' by Powell and Pressburger, for instance, as I attempted to construct a mood that fit with the space of a wartime installation. Having pondered returning angels, I turned my attention to the dead cinema-goers in Tsai Ming-Liang’s 'Goodbye, Dragon Inn'. I was staying in Taipei in the months before we shot, and appreciated the ghostlike mannerism of his performers, wandering around that dilapidated movie theatre, as if on autopilot. They seemed sad, as if they had lost something.
The tunnels offer us a chance to search, whether or not we find what we are looking for. So proceed into the dark, with a torch to light the way - or failing that, a disco ball.
Christopher Brown, 201
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