2,264 research outputs found
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
Caesar Kleberg Tracks
No full textBiannual newsletter of the Caesar Kleberg Wildlife Research Institute documenting progress on various research projects, news, and other information of interest to subscribers
MSS 0098, F0054 - John Dickinson and Thomas McKean letter to Caesar Rodney
No full textLetter from John Dickinson and Thomas McKean, delegates to the Continental Congress, to Caesar Rodney, then President of Delaware. Writing at the direction of Congress, Dickinson and McKean request Rodney appoint a sufficient guard to take custody of sixty-four prisoners captured aboard the British sloop-of-war Harlem.Purchase, October 1988.http://library.udel.edu/static/purl.php?mss0098_005
Letter from Caesar D'Mello to Hagan
No full textTypescript letter signed Caesar D'Mello, Joint Honorary Secretary, Office of the Standing Committee of East Indian Catholics of Bombay, Salsette and Bassein, 12-14 Churchgate Street, Fort, Bombay (India), to Hagan. Asking him to support their case for the removal of the Portuguese Padroado; the rector of the Beda College already supports them. Offering details and background; the Holy See does not wish to move contrary to the Portuguese government. Asking to use his influence at the Vatican. Enclosing a report (not extant)
Homily 'Caesar and God
No full textHandwritten [homily] on 'Caesar and God': 'when Jesus Christ was but a tiny infant forty days old...'. (Dated 19 October 1902.
Homily 'Caesar and God
No full textHandwritten homily on 'Caesar and God' (22nd Sunday after Pentecost): 'in today's gospel we find another instance of the hatred with which the Pharisees dogged the steps of our Lord...'
Mantegna. The Triumph of Caesar.
No full textCaption: "Ill. Lodovico II M.M. Principi Optimo ac Fide Invictissimo et Ill. Barbarae Eius Coniugi Mulierum Glor. Incomparabili, Suus Andreas Mantinia Patauus Opus Hoc Tenue ad Eoru Decus Absolvit Anno MCCCCLXXIIII." Details from The Gonzaga Family and Retinue fresco (1465-1474, in the Camera degli Sposi ) showing Ludovico Gonzaga and his wife, Barbara, with VO translating the Latin. More of the painting showing family, courtiers and servants. The palazzo of San Sebastiano at Mantua. VO quotes from Italian historian, Giorgio Vasari, on Andrea Mantegna’s commission by Ludovico for a painting on the triumphs of Caesar. Commentary says that the paintings were not well cared for and were eventually sold, along with many others, to King Charles I of England. Hampton Court, where the paintings have been since 1629. THE PICTURE BEARERS: Details from this panel which Mantegna mostly painted himself. Commentary says that the pictures were over-painted in oils by Louis Laguerre around 1700. Three further restorations saved the loose paint but dulled the colours. The most recent restoration, by John Brealey, has revealed a good deal of the original work. THE TRIUMPHAL CAR: Commentary explains that the series was intended to represent a procession. Details. Commentary suggests that some of this section has an affinity with Cubism. THE LITTER BEARERS: Further quotation from Vasari describing the perspective of this panel. Details of the painting. THE VASE BEARER: One of the best preserved of the canvases. Details, some of which are reminiscent of Breughel. THE ELEPHANTS: Commentary points out that Mantegna had probably never seen a live elephant, so the painting shows a lively imagination rather than anatomical accuracy. An anecdote concerning Mantegna visiting Lake Garda.THE TROPHY BEARERS: Mantegna’s source would have been descriptions from authors such as Plutarch. Details. THE MUSICIANS: Commentary points out the heads representing the towns and cities captured by Caesar in his campaigns, and says that Mantegna was creating the "spirit of a triumph" rather than its reality. CAESAR ON HIS CHARIOT: A badly damaged painting but one which demonstrates both Mantegna’s vision and his skilful technique. Panning shots of the different paintings in the series giving the idea of a moving procession. Details from the paintings. Music over. Commentary points out the "M" that appears on the rump of Caesar’s horse. Bust of Mantegna. ANDREA MANTEGNA 1431-1506. Credits
The role of the Globe theatre in shaping Shakespeare's Tragedy of Julius Caesar
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2012Abstract : This study assesses the impact of a specific theatre space on Shakespeare's work along two broad lines of inquiry. The sociopolitical environment and the structural features and resources of the Globe theatre are examined in turn, in an effort to ascertain the extent to which they may have shaped the conception and enactment of Julius Caesar in 1599. The social, religious, and political concerns of contemporary London are elucidated by the identification of relevant evidence from the play text. Likewise, discussions of the Globe's structure and staging conditions are informed by the analysis of several key scenes from the play. The study relates the attributes of the Globe theatre and the Shakespearean stage in general to the concepts of Holy and Rough Theatre found in Peter Brook's The Empty Space, and employs Andrew Gurr's notion of the "Shakespearean Mindset" as well as J. L. Styan's theories concerning the imaginative neutrality of the stage space and the creative collaboration of the audience, to apprehend the connection between the language of Julius Caesar and the specific theatre space in which it was first enacted. The metaphorical potential of the stage space and theatre structure as a whole are discussed with reference to discernable metatheatrical moments in the play. The study verifies a complex connection between Julius Caesar and the Globe theatre and its surroundings, allowing for an improved understanding of the play's layered contextual significance, as well as informing of staging practices at the Globe that brought Shakespeare's words to life.Este trabalho avalia o impacto de um espaço de teatro específico sobre a obra de Shakespeare ao longo de duas amplas linhas de investigação. O ambiente sócio-político e as características estruturais e recursos do teatro Globe são analisados sucessivamente, em um esforço para determinar a medida em que eles podem ter formado a concepção e encenação de Julius Caesar em 1599. As questões sociais, religiosas e políticas da Londres contemporânea são elucidadas pela identificação de evidências relevantes no texto. Da mesma forma, as discussões sobre a estrutura do Globe e as condições de encenação são esclarecidas pela análise de várias cenas-chave da peça. O estudo relaciona os atributos do teatro Globe e do teatro Shakespeareano em geral aos conceitos de "Holy and Rough Theatre" de Peter Brook, e utiliza a concepção de Andrew Gurr chamada "Shakespearean Mindset", assim como as teorias de J. L. Styan relativas à neutralidade imaginativa do espaço do palco e à colaboração criativa do público, para compreender a conexão entre a linguagem de Julius Caesar e do espaço teatral em que foi inicialmente encenada. O potencial metafórico do espaço do palco e da estrutura do teatro como um todo é discutido no que tange a momentos metateatrais discerníveis na peça. O estudo verifica uma relação complexa entre Julius Caesar e o teatro Globe e os seus arredores, permitindo uma melhor compreensão da significância contextual multifacetada da peça, bem como registro de práticas de encenação no Globe que trouxeram as palavras de Shakespeare à vida
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