1,005 research outputs found
Correspondence between Samuel Ross Ballin, Ralph C. Talcott, Joseph S. Trovato, and Mary F. Walsh, 1969-1971
No full text4 leavesCorrespondence between Samuel Ross Ballin, Ralph C. Talcott, Joseph S. Trovato, and Mary F. Walsh, 1969-1971, regarding a paper Talcott was writing about Luks
Characterization and structure in the development of Tudor comedy
Full text linkThe role of characterization in dramatic structure is assessed by theoretical criteria.
Characters who perform actions necessary for the completion of the narrative sequence are
said to be "bound" to the narrative; those without such obligations are "free". Characters
who maintain a single, constant meaning during the course of a play are said to be "static";
characters who change or develop into new roles are "dynamic". Horatian decorum
demanded that comic characters be static, and the characters of Plautine and Terentian
tradition were almost always bound to narrative intrigue. However, evaluations of six
Tudor comedies show an increasing use of non-classical characterization within the comic
form.
In the early comedies lohan lohan and Roister Doister all characters are bound and
static, yet the impetus to enlarge the role of characterization is evident. The characters of
lohan lohan are expanded from their French source, and Roister Doister includes
extraneous episodes in which Udall displays his braggart hero. Free characters abound in
Misogonus; as well the play brings dynamic characterization into the scope of comedy with
the conversion of its prodigal son.
Free characters offer new possibilities of non-narrative plotting. In comedies of the
1580s favourite traditional characters appear as diversions outside the action, and thematic
arrangements of characters inform the increasingly complex plots. Lyly stresses the
symbolic potential of characters in Endimion, whereas Greene uses dynamic
characterization to heighten the illusion of independent figures in Friar Bacon and Friar
Bungay. Love's Labour's Lost exposes the limitations of comic artifice by pulling the
characters between convention and individualization.
By the end of the sixteenth century free and dynamic characters had become
common, and characterization had established a sizable claim on the design of English
comedy. These developments set the English form apart from its neoclassical counterparts
Some remarks on a book, entitled, A view of the expediency and credibility of miraculous powers among the primitive Christians, after the decease of the apostles. Represented in a charge delivered to the clergy of the archdeaconry of Sudbury: and other papers annexed on the same subject, containing several new Illustrations of many Curious Points in Antiquity. By John Chapman D.D. By the author of the Cursory animadversions upon a late controversy concerning the miraculous powers, &c [electronic resource].
No full textThe author of the Cursory animadversions = Ralph Heathcote.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
Omaleimaista nationalistisuutta : Ralph Vaughan Williams c-mollijousikvarteton näkökulmasta
Full text linkOpinnäytetyö koskee englantilaista säveltäjää Ralph Vaughan Williamsia sekä hänen musiikkiaan. Työssä lähestytään säveltäjää erityisesti hänen varhaisteoksensa, c- mollijousikvarteton kautta. Opinnäytetyön yksi tarkoitus on tarjota tietoa Vaughan Williamsista, hänen sävellystyylistään ja elämästään suomeksi, sillä suurin osa säveltäjästä kirjoitetusta aineistosta on englanninkielistä. Työn toinen päämäärä on selvittää, kuinka säveltäjään ja hänen tyylinsä perehtyminen vaikuttaa teoksen harjoitusprosessiin ja esittämiseen. C-mollijousikvartetto toimii työn innoittajana, ja työ on laadittu ennen kaikkea sen näkökulmasta. Koska kvartetto kuuluu säveltäjän varhaisteoksiin, säveltäjän elämänvaiheista, inspiraationlähteistä ja vaikutteista kertovassa osuudessa on keskitytty nimenomaan säveltäjän varhaisvaiheisiin. Työ on suunnattu lähinnä musiikinopiskelijoille ja muille musiikkiin ja musiikin teoriaan jo perehtyneille.
Työssä analysoidaan c-mollijousikvartettoa, sen rakennetta, musiikillisia aiheita sekä harmonioita lähdeaineiston kautta. Kvarteton kaikki osat käydään läpi ja kerrotaan, mitä Vaughan Williamsin sävellystyylille ominaisia piirteitä niissä on
Monimuototyön liitteenä on konserttitaltiointi Vaughan Williamsin c-mollijousikvarteton ensimmäisestä osasta Keel-kvartetin soittamana. Äänite on Kuhmon kamarimusiikkikurssin oppilaskonsertista kesältä 2013, ja opinnäytetyönlaatija soittaa kvarteton ykkösviulun osuuden. Työhön on valittu kvarteton ensimmäinen osa, sillä siinä tulee parhaiten esille Vaughan Williamsin tyypillinen sävelkieli.
Työn loppupohdinnassa käydään läpi prosessin tuloksia. Opinnäytetyö vahvistaa käsitystä teosanalyysin suuresta merkityksestä harjoitusprosessiin ja lopputulokseen. Perehtyminen säveltäjän elämään ja vaikutteisiin antaa tunteen, että soittaja pääsee lähemmäksi säveltäjän ajatusmaailmaa. Teoksen työstäminen tuntuu mielekkäämmältä, kun säveltäjän musiikillisia ratkaisuja ymmärtää paremmin. Lisäksi säveltäjään ja teokseen perehtyminen auttaa artikulaatiomerkintöjen tulkitsemisessa ja fraasien ymmärtämisessä. Opinnäytetyössä havaitaan, että monet hankalilta tuntuvat paikat teoksessa selkeytyvät perehtyessä teoksen ja säveltäjän taustaan.The final project is about British composer Ralph Vaughan Williams (1872-1958) especial- ly from his C minor string quartet’s point of view. The report includes a recording of the string quartet’s 1st movement, played by Keel string quartet, where the Author of this report plays the 1st violin. The quartet is recorded in June 2013 in the student concert of Kuhmo music course.
The purpose of this final project is to offer information about Ralph Vaughan Williams in Finnish since most of the source material can be found only in English. Another aspect of the report is to find out, how it affects the interpretation and rehearsing a work when you know the background of the piece and about composer's life and his style. Since the C minor string quartet belongs to the composer’s early works the report concentrates on Vaughan Williams’ life before and around the time when the composer started his career
The report tells about Vaughan Williams' life, his musical style and the events and people that had a great influence on his composing. Besides that, it also includes an analysis of C minor string quartet. In the report the Author tries to show the elements that are typical for Vaughan Williams. The report presents the folk music aspects and harmonies that are part of the composer’s style.
In the end of the report there is a discussion about the results. It seems that searching information about the composer and the events that took place during he was composing, increases your motivation to work with the composition. It helps you to understand the composition better and feel in a way connected to the composer. Knowing the style of the composer and the elements he uses, helps a lot when it comes to articulating and phrasing.Työhön kuuluu äänite Ralph Vaughan Williamsin c-mollijousikvarteton ensimmäisestä osasta
Poems by Heinrich Böll Translated
No full textPoems by Heinrich Böll translated by Robert C. Conard in collaboration with Ralph Ley. The translation of My Muse is by Leila Vennewitz and first appeared in Encounter, April 1971 (copyright 1971 by Heinrich Böll and Leila Vennewitz). All poems appear with the permission of their author and his agent Joan Daves. Copyright 1977 by Heinrich Böll
Letter to Verne C. Parker (August 3, 1917)
No full textA letter to Verne C. Parker with no date included. It is not sure who has written the letter, but the letter was with other letters written and sent to Ralph L. Cheney. In the letter, the author states that he was happy to hear of Verne's whereabouts and recaps how the College is doing. The author also mentions Verne's outstanding balance and how that money could help others.Item is creased thus making some sentences hard to read.
Letter to Verne C. Parker (August 3, 1917)
No full textA letter to Verne C. Parker with no date included. It is not sure who has written the letter, but the letter was with other letters written and sent to Ralph L. Cheney. In the letter, the author states that he was happy to hear of Verne's whereabouts and recaps how the College is doing. The author also mentions Verne's outstanding balance and how that money could help others.Item is creased thus making some sentences hard to read.
Two tales of a city: Salford in regional filmmaking, 1957-1973
No full textThis discussion considers the role of moving image in constructing aspects of regional identity, with particular reference to footage produced by two very different filmmakers who filmed in Ordsall, Salford during the 1960s. Their respective footage covers a period of profound social and physical change associated with housing clearance and urban renewal schemes. This article, which is based upon archival film footage in the North West Film Archive at Manchester Metropolitan University, seeks to convey the richness and multi-facetted nature of this footage and to highlight its value in the historical exploration of identity formation. The piece begins with a brief consideration of archival film as a source of historical evidence and associated issues of interpretation. This is followed by an introduction to the locality that features in the two filmmakers’ work and brief reference to how it has been represented in the past. Attention then turns to each of the filmmakers: first, John Michael Goodger, former lecturer at the University of Salford, who made a trilogy of films to chart the changing character of Ordsall in the late 1960s; second, Ralph Brookes, an amateur home movie maker who also documented the transformation of the terraced streets around where he lived. These contrasting versions of Ordsall highlight some of the challenges offered by using film in a study of regional identities. They also illustrate the enormous potential of such material in helping to elucidate the shifting and multiple nature of place meanings
Officers of the Choral Society
No full textOfficers of the Choral Society from left to right: Music Instructor Alice Talcott; English Instructor and Professor of Law Jason Elihu Payne; Professor of English and Philosophy John D. Logan; Director of Music and Dean Ethelbert W. Grabill; Vocal Music Instructor Marjorie Woods; University Secretary Charles A. Sloan; Assistant Professor of Mathematics and Engineering Ralph McOmber Meyers; Professor of Greek Language and Literature Herbert Baldwin Foster. Inscribed on verso: Herbert Foster, Meyers, C. A. Sloan, Marjorie Woods, Dean E. W. Grabill, J. D. Logan, Jason Payne, Alice Talcott
- …
