9,098 research outputs found
POSTCOLONIAL SHAKESPEARE
No full textConiugando gli orientamenti più attuali della critica postcoloniale, degli studi shakespeariani e dei performance studies, il volume raccoglie saggi di studiosi italiani e stranieri sul tema delle riscritture/riletture postcoloniali del testo shakespeariano. INDICE: Introduzione di Masolino d'Amico, p. VII; Viola Papetti, Desdemona in Mauritania, p. IX; Barbara Antonucci, L'alterità nel Titus Andronicus: Aaron il Moro e la minaccia all'Impero, p. 3; Shaul Bassi, Guglielmo e Benito: shakespeare e la razza in epoca fascista, p. 19; Alessandra Calvani, Oriente e Occidente: la costituzione del "sé" e dell' "altro da sé" nel regime della traduzione, p. 33; Anna Maria Cimitile, Il postcoloniale, il fantasma di shakespeare e l'etica della lettura, p. 47; Alessandra Contenti, shakespearewallah: shakespeare in India. Un episodio, p. 57; Simona Corso, "Bard goes Bananas": shakespeare e Walcott, p. 71; Carla De Petris, Ireland Writes Back - Mutabilitie, la risposta postcoloniale di Frank McGuinness, p. 85; Maria Del Sapio Garbero, Le mutazioni di Ariel: shakespeare e Marina Warner, p. 99; Paola Faini, The Al-Hamlet Summit, p. 121; Roberta Falcone, L'approdo di Otello nell'Africa di Brink, p. 133; Nancy Isenberg, Beyond the Black/White Paradigm: Casting Othello and Desdemona on the ballet stage, p. 157; Ivan Lupic, Hamlet Turn'd Turke: shakespearean postcolonialities, p. 171; Fabio Luppi, Il Moro di Porto Maghera. Mito e rito da shakespeare alla Biennale Teatro del '74, p. 187; Franco Marenco, Amazzoni nel nuovo mondo, p. 201; Florian Mussgnug, "Fantastico e malinconioso". L'Amleto di Giorgio Manganelli, p. 217; Maddalena Pennacchia, Othello fiorisce a Bollywood: Omkara di Vishal Bharadwaj, p. 231; Caterina Ricciardi, Goodnight Desdemona (Goodmorning Juliet) di Ann-Marie MacDonald: dal genere al gender, p. 251; Gilberto Sacerdoti, Calibano: post-colonial, pre-coloniale o post-post-colonial?, p. 267
Barbara James
No full textDate:1943Barbara was born in Holdredge, Nebraska in the United States of America in 1943. In 1960 she arrived in Darwin working in a variety of occupations such as a journalist, historian, author, activist, advocate and editor. Barbara wrote 13 books including "No Man's Land" which explored the contributions of women in the Northern Territory. She also received a number of awards including 2001 NT Heritage Award, the 2000 NT Literary Essay Awards and the Chief Minister's Women's Achievement Award in 1999.JournalistHistorianAuthorActivistEditorAmerica
Disegnare con le immagini. Immaginare con i disegni. Strumenti grafici per il Corso di Disegno
No full textDispensa per il Corso di Disegno dei corsi di laurea in Ingegneria Civile ed Ingegneria Ambiente Territorio
Scritti di Sara Varisco, Barbara Bonomi, Anna Massard
Barbara Ras - Sowell Conference 2017
No full textBarbara Ras, San Antonio, Poet, author of "Bite Every Sorrow" and "The Last Skin
Guida alla lettura del 'Mito dello stato' di Ernst Cassirer
No full textDispense della parte del corso di filosofia politica dedicate a Ernst Cassirer; sono state rielaborate e curate a quattro mani da Barbara Henry e M. Chiara Pievatol
Exclusive interview with author Barbara Kingsolver
No full textExclusive interview with author Barbara Kingsolver for her 2018 novel *Unsheltered
Dataset for publication: Post‐war architecture and urban planning as means of reinventing Opole’s past and identity
No full textThe collection includes files related to the publication: Barbara Szczepańska, Post‐War Architecture and Urban Planning as Means of Reinventing Opole’s Past and Identity, „Urban Planning”, Vol 8, No 1 (2023): Bombed Cities: Legacies of Post-War Planning on the Contemporary Urban and Social Fabric, pp. 266-278, https://doi.org/10.17645/up.v8i1.6079. The collection includes figures used in the publication:Opole_plan A plan of Opole, with areas of Ostrówek (left), Market Square (center) and Central Square (right) highlighted in red. Originally published in: "Guidebook to the city of Opole" ("Przewodnik po mieście Opolu", Opole: Księgarnia Opolska, 1948, https://polona.pl/preview/2f383a4a-5e9e-444d-9e94-366b8ac8610d). Author: Z. Streer. Licence: CC0Opole_Monument to the Opole Silesian Fighters for Freedom A photograph depicting Monument to the Opole Silesian Fighters for Freedom (Pomnik Bojownikom o Wolność Śląska Opolskiego) in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_monument of Kazimierz I Opolczyk A photograph depicting the monument of Kazimierz I Opolczyk in the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage A photograph depicting eastern frontage of the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage_before 1945 A photograph depicting eastern frontage of the Market Square in Opole before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Market_Square_in_Opole,_eastern_frontage.jpg. Author: unknown. Licence: CC0Opole_monument of Frederick the Great A photograph depicting monument of Frederick the Great in Opole, before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Opole_Oppeln_Denkmal_Friedrich_der_Große.jpg. Author: unknown. Licence: CC0</ul
'A date with Barbara': paracosms of the self in biographies of Barbara Newhall Follett
No full textIn 1927, 13-year-old Barbara Newhall Follett published her first book, the critically acclaimed novel, The House Without Windows and Eepersip's Life There.
Twelve years later, on December 7, 1939, 25-year-old Barbara quarrelled with her husband and left her apartment in Boston with $30 in her pocket, and a notebook. She was never seen again.
The House Without Windows is set in a paracosm (Farksolia) she invented, and ends with the metamorphosis of the titular character into a 'fairy-a wood nymph … invisible for ever to all mortals, save those few who have minds to believe, eyes to see'.
In Barbara's (auto)biography, The Unconscious Autobiography of a Child Genius (1966), written by Harold Grier McCurdy 'in collaboration with Helen Follett' (Barbara's mother), the authors wonder: 'Can we be far wrong in substituting Barbara's name for Eepersip's in the closing scenes of [House Without Windows]?
In this paper, I grapple with the formal and ethical challenges of writing about Barbara Newhall Follett, and the ways her family and others have approached the problem of writing her unresolved life story: a child raised and educated in solitude, a celebrated 'natural' child author, a young woman whose disappearance remains unsolved. The paper will explore the ways in which adults write the stories of children's lives, as nostalgia and fable, as fairytale and paracosmic narrative, and the ways in which Barbara's biographers have, consciously and unconsciously, created biographical concordances, or paracosms of the self, in seeking to make meaning of her life's story
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