Marion most bold : feminine transgression in the greenwood

In my project, I focus on the role and depiction of women found in the Robin Hood greenwood: specifically, those of Maid Marian. Maid Marian rarely appears in early Robin Hood texts, and especially not in a capacity in which she herself speaks, so it is striking that today she has become almost as synonymous with the greenwood in Robin Hood tales as the man himself. Indeed, one of the rare instances in which Marian plays a lead role occurs in the seventeenth-century ballad “Robin Hood and Maid Marian,” which appears in only one manuscript, after the original Robin Hood ballads of the Middle Ages, and does not seem to have been popular. This seventeenth-century ballad allots Maid Marian an agency typically reserved only for Robin’s merry men. Though I agree that Marian exhibits certain transgressive behaviors, especially in “Robin Hood and Maid Marian,” by the end of Robin Hood texts—medieval, early modern, or otherwise—though the space of the greenwood allows a certain level of freedom for the men in the texts, the “good” women in the Robin Hood texts remain noble ladies who still act as they ought to even though they live outside the confines of civilized society. The same social rules of urban society continue to apply to them, and even in the few cases where the women get to demonstrate more traditionally masculine qualities, they still must end up back in their proper role at the end of the Robin Hood ballad or play.Englis

World Premiere 7 May 2016 - York Late Music - Andrew Toovey, First Out (2016)

Full programme of concert: Beethoven, Rondo in A Percy Grainger, My Robin is to the Greenwood gone Michael Finnissy, Beethoven’s Robin Adair Andrew Toovey, First Out Luke Stoneham, Magenta Cuts Steve Crowther, Piano Sonata No. 3 Laurence Crane, Slow Folk Tune: Sheringha

World Premiere Performance, 7 May 2016 - Michael Finnissy, Beethoven's Robin Adair (2016), co-commissioned by York Late Music and Transit Festival

Co-commission - York Late Music and Transit Festival Full programme: Beethoven, Rondo in A, WoO 49 Percy Grainger, My Robin is to the greenwood gone [Settings of Songs and Tunes from William Chappell’s ‘Old English Popular Music’ Nr.2] Michael Finnissy, Beethoven’s Robin Adair (2012-15) (World Premiere) Andrew Toovey, First Out (2016) (World Premiere) Steve Crowther, Piano Sonata No. 3 (World Premiere of revised version) Luke Stoneham, Magenta Cuts (1994) Laurence Crane, Slow Folk Tune: Sheringham (2014

silence and Noyes

UIDB/04097/2020 UIDP/04097/2020To re-enter the greenwood after twenty years is a somewhat daunting task. Obviously one should not march determinedly over the same old track, yet must avoid getting lost in new mazes” (Gray in Potter, ed., 21). With Douglas Gray’s sage words and advice on my mind, I will start by reopening an issue broached twenty three years ago in my PhD dissertation (1996): Shakespeare’s scanty references to Robin Hood and his legendary outlaw circle. I will then change scenes, from the Elizabethan to the late Edwardian-early Georgian age, and briefly present Alfred Noyes’s Sherwood, or Robin Hood and the Three Kings, a play first published in the US in 1911 and in Britain in 1926.publishersversionpublishe

The church and the unbeliever: recent Roman Catholic theology with special reference to Vatican II

This thesis is an attempt to state and document recent changes in attitude of the Roman Catholic Church to those who are not Roman Catholics, Pre-Vatican II Catholicism used "Extra Ecclesiam Nulla Salus" in an exclusive manner, deifying that those not in communion with the Pope could be in Comnunion with Christ. It will be shown that the exact nature of this exclusivism needs careful study and statement. The middle section of the thesis provides detailed study of the Vatican II documents related to the problem of the Church and the Unbeliever. For the first time official Catholicism admits the ecclesial reality of other comunions and allows that there are many possible ways of approach to God. The final section gives evidence of the implementation of the Vatican II decrees but notes that Official Catholicism is Invariably cautious in its advance. The contrast with pre-Vatican II literature with its presumptions of membership and a clearly-defined Church is remarkable testimony to the working-out of Pope John XXIII's "aggiornamento" in the life of the Churc

Pleasure islands

Pleasure Islands is series of collaborative exhibitions that seeks to gather together new works from a diverse collection of early and mid-career painters. Each iteration of Pleasure Islands builds upon previous connections, both painterly and in terms of curatorial strategies, and extends new invitations, pursuing a shifting, dynamic and open conversation about the role and viability of painting today. The First exhibition featured works by 11 artists: Robin Megannity, Louise Giovanelli, Brian Moutford, Dylan Thomas, Tom Farthing, Jane Hayes Greenwood, Tal Regev, Tom Palin, Donal Moloney, Peter Daviz and Tom Howse, and took place in Artwork Atelier, Salford. The second show contained the work of 11 artists, and took place in 3Space, Manchester, later the same year. This exhibition was set to a specially created audio score by Alexander Roberts, a.k.a. Kepier Widow. Conceived as a sound track, recordings of the space were manipulated, and the data processed in response to the environment. Participating artists were: Richard Baker, Robin Megannity, Louise Giovanelli, Brian Mountford, Eilis Otway, Evie O’Connor, Tom Palin, Wayne Robinson, Alex Roberts, Edgar Soprans and Dylan Thomas

Recent Acquisitions, 2007-2017: Selections from the Gettysburg College Fine Arts Collection

This exhibition reflects the breadth of Gettysburg College’s significant art collection and acknowledges the generosity of its donors. Major acquisitions have been made possible by The Michael J. Birkner \u2772 and Robin Wagner Art and Photography Acquisition Fund, which was established in 2013 to enhance the Gettysburg College curriculum, to offer curatorial opportunities for students, and to provide first-hand access to significant works of art. Purchases made possible by this endowment include works by prominent, internationally renowned artists Kara Walker, Wafaa Bilal, John Biggers, and Michael Scoggins. Other recent donations include important works by Andy Warhol, Glenn Ligon, Leonard Baskin, Raphael Soyer, Marion Greenwood, William Clutz, William Mason Brown, Sally Gall, and Jules Cheret’s Les Maîtres de l\u27Affiche lithographs. The Fine Arts Collection at Gettysburg College is comprised of over 500 museum-quality works, in addition to over 2000 Asian art objects that are featured routinely in Schmucker Art Gallery exhibitions and studied in Gettysburg College courses. The College has acquired over 200 fine art works in the past ten years, and this exhibition marks the first occasion to celebrate and view the scope of the collection. Some of the objects have been featured in recent exhibitions, while others, including large-scale color silkscreens by Andy Warhol and a rare print by MacArthur “Genius” Award recipient Carrie Mae Weems, have not yet been exhibited.https://cupola.gettysburg.edu/artcatalogs/1024/thumbnail.jp

Expectations of Returns and Expected Returns

We analyze time series of investor expectations of future stock market returns from six data sources between 1963 and 2011. The six measures of expectations are highly positively correlated with each other, as well as with past stock returns and with the level of the stock market. However, investor expectations are strongly negatively correlated with model-based expected returns. The evidence is not consistent with rational expectations representative investor models of returns.Economic