The Use of the Grotesque in the Plays of Edward Bond.

A contemporary English dramatist, Edward Bond writes plays that have often been controversial because of their use of cruelty, violence, and other forms of bizarre behavior which can be considered grotesque. The grotesque is a concept originating in the fifteenth century as a term referring to primitive artwork combining various forms to create a fanciful design. The term broadened in the eighteenth century to include literature and drama. Possessing a negative connotation, it referred to elements which were ridiculous, incongruous, absurd, or deformed. The Romanticists of the nineteenth century favored the grotesque as a valid aesthetic element which acted as a foil to the sublime and which created variety and contrast. In the twentieth century the grotesque becomes a prevalent force in drama. Theorists recognize that it elicits a dual response of fear and humor by juxtaposing incongruous and incompatible components. Its major purpose is to challenge existent norms and standards by shocking an audience into an awareness of the arbitrary nature of reality. Bond uses the grotesque to make the audience recognize weaknesses in the social structure. People turn into grotesques when victimized by a harsh and unjust political and legal system. Objects associated with the grotesque include white coverings such as a sheet or bandage that become connected with violent and unnatural suffering and death. Execution or punishment devices such as the crucifix, the jail, and the gibbet are also associated with the grotesque. Most significantly, Bond uses the grotesque to depict the moral growth of some of his protagonists, who must confront the grotesque and/or become grotesque in order to experience self-realization. As a didactic element, the grotesque threatens to overwhelm its context, thus failing to orient the audience to the thematic statement. Bond had tended to decrease his use of the grotesque, although it still emerges in his plays to give emotional focus to his dialectic

1989-1990 Yearbook

Vol. 8, Sept. 1990; 136 p.; b&w, color photographs TOC: Activities & Events…17 / Clubs & Programs…33 / Graduation…49 CREDITS: FACULTY ADVISOR, Vincent Banrey; PROJECT DIRECTOR, Catherine Whan; EDITORS, Luis Lopez; ASST. EDITOR, Rodolfo Medina; ART: Rodolfo Medina (Cover Design; Back Endsheet; Division Pages), Peter Abbate (Front Endsheet). GRAPHIC ARTIST: Rodolfo Funky Cold\u27 Medina. LAYOUT DESIGNERS: Vincent Banrey, Marino Tito Cabrera, Ann Marie Edwards, Charletin Enock, Ana Lisa Gonzalez, Edward Hollins, Luis Lopez, Peter Martinez, Rodolfo Medina, JilI Nage, Angela ?, Keith ?, Daly Rodriguez, Catherine Whan. WRITERS: Marino Tito Cabrera, Vincent Cousin, Edward Hollins, Luis Lopez, JilI Nage, Cathy Passiglia, Eartha Porter, Daly Rodriguez, Christiana Sommerville, Catherine Whan. PHOTOGRAPHERS: Peter Abbate, Marino Tito Cabrera, Charletin Enock, Milton Ferriera, Fran Gibson, Alexandra Gomez, Bernadette Henry, Edward Hollins, Juan Jiminez, Umoja Kwanguvu, Luis Lopez, Rodolfo Medina, Allen Scribner, Frank Tocco, Catherine Wran, Alan O. Young. Special Thanks to Cathy Soria of Classic Studio (as well as Frank & Tommy)

Amber Outskirts

Amber Outskirts opens with 25-year-old Penelope Moore searching for the girl she once loved, Amber, who disappeared after they shared a drug-fuelled night. Penny finds Amber in a gritty town in rural New South Wales where she is every bit as wild, but now married to a brutal man, Pete. There’s no room for Penny in Amber’s new life, but Penny can’t stay away. Penny gets a job at the local orchard, where Amber works, and it’s not long before she’s invited to a party where there’s a muddle of drink and desire. By the night’s end, Pete slips away with a lover and in an act of revenge Amber sleeps with his brother, Angus. The following morning, Penny wakes hungover—and lost—in the bush. Trying to find her car, she stumbles on Amber in a remote clearing. Amber is acting strangely, and asks Penny if she’ll drive the Kombi. Penny follows her instructions to reverse, and hits a body; it turns out Pete was sleeping behind the vehicle. On seeing Pete rolling in agony, Penny realises Amber intended for her to hit Pete’s lover. With Pete hospitalised, the women escape cross-country. Amber attempts to see her incarcerated mum for guidance, but her mum refuses her visit. Devastated by the rejection, Amber spins into a manic state, insisting they return to Penny’s childhood home. Together, they break into the Bondi mansion, only for a neighbour to alert the cops. Faced with being arrested, Penny is forced to contact her mum to prove she has a right to be on the premises. Her mum rushes home to find her weary daughter, who admits to running a man over and voluntarily goes to the police station to testify. A year later, Penny is working as a barista in Sydney, having been fully acquitted, and coping with the emotional impact of the court case. Amber has been sentenced to twelve years in prison and has cut off communication with Penny. Penny’s decides to return to Shearsend, where she is determined to resurrect her father’s childhood orchard. At the orchard, Penny hikes up a mountain and from her lookout sees a van pause at the end of her driveway. Approaching her mailbox, she hopes for a letter from Amber

Understanding the Global in Global Finance and Regulation

A simple and statistically robust method for passive clock synchronization in sensor networks is presented. The method is not limited to passive (one-way communication) synchronization, but this scenario justifies the method. The recursive nature of the method and the targeted passive setup mean that it adds a minimum of requirements on the system in which it is used. Statistical characteristics of the method are quantified and real measurements are used to illustrate the robustness and performance gain relative to a naive Kalman filter based clock synchronization. Finally, C++ code that implements the suggested clock synchronization method, is provided in this article.QC 20140423</p

1963-1973, Memphis State University Honors Assembly programs

Programs for Memphis State University\u27s Honors Assemblies sponsored by Omicron Delta Kappa, Senior Men\u27s Honorary, and Tassel, Senior Women\u27s Honorary, held on: -Thursday, May 15, 1963 -Wednesday, May 19, 1965 -Sunday, May 4, 1969 -Sunday, May 3, 1970 -Sunday, April 25, 1971 -Sunday, April 23, 1972 -Sunday, April 29, 1973https://digitalcommons.memphis.edu/speccoll-ua-honorsa1/1000/thumbnail.jp

Ken Loach : eine Arbeitsbibliographie

Inhalt: I. Loach über Loach / Interviews II. Bücher / Artikel Die Fernseharbeiten und -auftritte sowie Sendungen über Loach III. Die Film

A Culture of Rights: Law, Literature, and Canada, by Benjamin Authers

The need for a law and literature canon has long been contested. Even the classic book by Richard Posner, Law and Literature, engages the question: Although Posner ultimately believes in a canon (having “come to praise Caesar, not to bury him”), he finds any semblance of one currently wanting. Scholars continue to challenge the relevance of literature and literary criticism to a field like law that is sometimes more “science” than art. Regardless of whether “law drives culture or culture drives law,” scholars can at least agree the two relate. If there is anything around which the canon coheres, it is their sense that literature is a cultural form worth unpacking