Theses of 1663

Handwritten document written in Latin and dated August 1663 purported to be the Harvard College Commencement Theses of 1663, but considered by John Noble of the Colonial Society of Massachusetts to be a contemporary parody. Noble notes of the 1663 Theses, that "there seems to be no reason to doubt that this is a genuine, original manuscript of the date which it bears," but describes it as a "blaze of literary and scholastic pyrotechnics" that suggests it was created satirically (John Noble, "Harvard Theses of 1663" in the Publications of the Colonial Society, Volume V: Transactions, April 1898, pages 322-339).

Selecting Contexts. One Method of Selecting Contexts for Theatre Historiography

In principle, the world and life itself are the contexts of theatrical events. The term context is broad and thus seems hardly usable. It only makes sense to use the term when terminologies and methodologies determine which parts of their contexts are to be incorporated and analysed for which theatrical event. This presentation exemplifies a method which is particularly suitable for sensibly selecting the most important contexts for research in theatre history. The complexity of the representation increases continuously from The Presentation of Self in Everyday Life to Brecht’s “Street Scene” and “Everyday Theatre”, portrayals of rulers in feasts and parades to Hamlet productions by the Royal Shakespeare Company or a Wagner opera in Bayreuth. The different forms of theatre thus constitute a continuum which spans from “everyday theatre” to “art theatre”. The representation of the world in this continuum is sometimes questioned by the means of theatre, for example when Commedia dell’arte takes a critical stance towards the representative theatre of the humanists or when playful devices such as reversal, parody and fragmentation challenge the representative character of productions, which is applied by the Vice character for instance. There is a second component that has an impact on the continuum without a theatrical device: attitude, opinion, norms and bans which originate from society. As excerpts of contexts, they refer to single forms of theatre in the continuum. This results in a complex system of four components which evolves from the panorama between the antipodes “everyday theatre” and “art theatre” as well as both spheres of influence of which only one uses theatrical devices. All components interact in a specific time frame in a specific place in a specific way in each case, which can then be described as the theatricality in this time frame. This presentation will deal with what the concept is capable of doing.

The blue devils, or, New police : a poem in three cantos /

A parody on The devil's walk, cf. T.J. Wise, Samuel Taylor Coleridge, p. 142, no. iv.

Amateurism and the Aesthetics of Lego Stop-Motion on YouTube

Do the “democratization” of media and the proliferation of online participatory culture undermine the aesthetic hegemony of professional filmmakers? This article is a case study of both more and less popular animated Lego videos, also called “brickfilms,” that asks how amateur videos adhere to and/or depart from professionalized aesthetic standards. It addresses the definitions of professionalism and amateurism and proposes that the dichotomy between democratization and ongoing elitism is insufficient to describe the complex dialogue between professional film aesthetics and amateur production—a dialogue that is diverse but nonetheless follows certain patterns. These patterns link Lego videos to silent era cinema as well as contemporary professional live-action and stop-motion animation. Furthermore, a mixture of parody, pastiche, and homage suggest that amateur work has a variety of affective relationships to professional work. Ultimately, amateur filmmaking indicates a negotiation of professional standards rather than slavish adherence.

The song of higher-water,

A parody on Longfellow's "Song of Hiawatha".

The works of Horatio Walpole, earl of Orford ...

The Anecdotes of painting and Catalogue of engravers were compiled from manuscripts of George Vertue.

Poems

Ode on the Spring.--Ode on the death of a favourite cat.--Ode on a distant prospect of Eton College.--A long story.--Hymn to adversity.--The progress of poesy.--The bard.--The fatal sisters.--The descent of Odin.--The triumphs of Owen.--Carmen elegiacum.--Elegia, &c.--Elegy written in a country church-yard.--Ode on Ranelagh...a parody on Mr. Gray's...Ode on a distant prospect of Eton College [by J. Duncombe].--An evening contemplation in a college...a parody on the Elegy in a...church-yard.--The Bard, a burlesque ode...by R. Lloyd and G. Colman.

The Modern Gilpin, or, The adventures of John Oldstock : in an excursion by steam from London to Rochester bridge : containing a passing glance at the principal places on the Thames and Medway : with notes /

Publisher's ads on back wrapper.

Observations sur la comedie, et sur le genie de Moliere /

Errata: last p.

Faust : der Tragödie.

Parody.

One, two, three, four, five; by advertisement : a musical entertainment, in one act, first performed at the Theatre Royal, English Opera-house, London.

A parody of Wordsworth's Peter Bell; first produced April 15, 1819. Cf. Leonidas M. Jones Selected prose of John Hamilton Reynolds, Cambridge [Mass.], 1966.

Discourses of friendship between heterosexual women and gay men:mythical norms and an absence of desire

Gay men and heterosexual women may share some common interests in critiquing hetero-patriarchy. However feminism and gay liberationist politics do not always coincide and the role of individual subjectivities in recognising oppressive discourses of normativity remains debated. Interviews were conducted with seven friendship dyads of heterosexual women and gay men. Transcripts were subjected to discourse analysis, which suggested extensive management of heterosexist norms in the friends' accounts of friendship. The analysis highlighted ambiguity over the 'male' status of gay men, a concern with constructing the friendships as legitimately asexual, and the use of parody in the face of homophobia to disrupt normative assumptions. Although we primarily considered the role of heterosexist discourses, there is also evidence that other dimensions of non-normativity (for example, gender and ethnicity) are implicated in friendships constructed around shared otherness and mutual non-normativity. © 2010 SAGE.

Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela historica

The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso , the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. ^ This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. ^ Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist's approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier's El arpa y la sombra and Posse's Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power. ^

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

El discurso vindicatorio de Juan Goytisolo y Zoe Valdes: Deconstruccion y recodificacion del lenguaje hegemonico

The goal of this dissertation is to explore the use of transgressive language in the works of Juan Goytisolo and Zoé Valdés. This study examines the socio-political and cultural contexts in which the narrative of both authors develops, as well as the textual devices employed by these writers for undermining the “official history” imposed by the dictatorial regimes in Francoist Spain and Castro's Cuba. Furthermore, this dissertation argues that the deconstructing strategies in Goytisolo and Valdés mark their literary trajectory. Their vindicatory standpoints seek an alternative discourse of national identity. ^ The function of language in demythifying and recodifying hegemonic discourse is examined in Goytisolo's trilogy Señas de identidad, Reivindicación del conde don Julián, and Juan sin tierra; and the novels of Zoé Valdés La nada cotidiana and Te di la vida entera. The parallelisms in the literary works of Goytisolo and Valdés are established by contrasting the authors' revisionist approach to history, the self-reflexivity of their novels, the sexual referent, and the use of irony and parody. The theoretical framework incorporates poststructuralist theorists such as Todorov, Foucault, Lacan, Barthes, Derrida, and Kristeva; the psychoanalytical theory of Freud; and the feminist theories of Cixous and Irigaray. The comparative approach of this study and the interplay of power, politics, aesthetic creation, and author's psychology provide an illuminating perspective that could be of interest to individuals from a variety of disciplines. ^