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Seminars and Workshops
Enrolment in WSC seminars and workshops is now open. All Congress delegates will be able to enrol in one of the thirty-four seminars or five workshops offered.
Convenors: Helen SMITH (University of York, UK) and Valerie WAYNE (University of Hawaii, USA)
This seminar welcomes all forms of work on ‘book’ history as it relates to Shakespeare and his global contemporaries, including new research in areas such as communications circuits; playbooks, printed books, and theatrical manuscripts; authors, printers, publishers, owners, and readers; editions and works assembled from multiple source texts; and the materiality of the text and the circulation of ideas. How can we follow the lead of critical race scholars to open up book history to questions of race and ethnicity? If most models of the field have been androcentric, how can we expand our research to attend more fully to gender and to sexuality, including questions of queer philologies, embodiment, collaboration, and conflict? What new developments are made possible by recent digital resources and by forensic tools that use technologies from chemistry, radiology, and DNA analysis? Where would we like book history to go in the next decade?
Convenors: Márton BÁRSONY (Károli Gáspár University, Hungary) and Halyna PASTUSHUK (Ukrainian Catholic University, Ukraine)
This seminar invites investigations of the carnivalesque in Shakespearean plays and performances: traces of pageants, fooling characters, temporal and spatial liminality between fictional world and theatrical event, plays-within-plays, references to acting and actors, equivocations and puns, low laughter and scatological language, play of identity, eavesdropping scenes, and other meta-theatrical techniques. How do liminal actor-characters function at ‘the border line between art and life’? What happens to the audience when the fourth wall collapses? How did carnivalesque elements contribute to multiple dimensions of performance reception by the hodge-podge London public? Can they serve the same purpose today in different cultures which translate, adopt, and appropriate Shakespeare’s plays? How have other global traditions of carnival and the carnivalesque been imported into Shakespeare criticism and performance? Is it possible that many stagings today, while being excessively faithful to the original texts, miss the dynamic ambivalence and polyphony of Shakespeare’s plays?
Convenors: Darryl CHALK (University of Southern Queensland, Australia) and Rebecca TOTARO (Florida Gulf Coast University, USA)
In this seminar, we invite methodologically self-conscious and generous papers seeking to expand our understanding of the circuits of infectious disease and keeping care for others in Shakespeare’s time. Papers might address one or more of these subjects: caregiving or disease as represented by Shakespeare and his contemporaries, including women writers; specific characters in contagious and/or caregiving networks of exchange; responses to mortality crises amid the loss of Catholic charitable relief efforts; local, transatlantic, and other circuits of disease transmission and care management; the role of families and parish communities in managing extra-familial disease; infectious disease and the history of emotions; quarantine laws and other travel restrictions; London’s bills of mortality, the press, and the quantification of disease; male and/or female care networks; infrastructure-related issues; associated socio-cultural economies; traveling players escaping from or carrying disease with them; continental translations of disease and care manuals; and archival manuscript finds.
Convenors: Sophie TOMLINSON (University of Auckland, New Zealand) and Deanne WILLIAMS (York University, Canada)
This seminar draws inspiration from the conference theme of circuits by highlighting the social, political, and commercial networks in which female performance circulated in the early modern period and continues to circulate today. In Shakespeare’s time, women and girls performed in plays, masques, and entertainments as singers, dancers, and dramatic speakers. They authored and commissioned plays and masques and involved themselves in the financial, commercial, and material aspects of stage management and production. Papers are welcome on women and also girls in existing circuits, their establishment and initiation of new circuits and networks, and the existence of all-female circuits: circuits of family and friendship; international and diasporic circuits of dramatic performance; economic, political, and commercial circuits; the circulation of dramatic texts, songs, designs, and theatregrams; female performers in contemporary online and digital circuits; and female performance circulating in archives, at festivals, in exhibitions, and in cultural and historical contexts outside of early modern England.
Convenors: Coen HEIJES (University of Groningen, Netherlands) and David RUITER (University of California, San Diego, USA)
We all share a passion for Shakespeare. We all want to make the world a better place. Can these desires be brought together productively? Most Shakespeare conferences today aim at connecting the Shakespeare circuit with the broader circuit of today’s society and its burning issues, such as migration, racism, xenophobia, populism, poverty, and moral, social, and ecological sustainability. Shakespeare is part of an interdisciplinary approach to leadership, ethics, diversity, and cross-cultural cooperation; should such ‘significant Shakespeare’ concerns also become the foundation of our teaching, acting, and research?
For this seminar, we call on academics, teachers, and practitioners to report how they have achieved change for the better and/or to illustrate the dilemmas, difficulties, and failures that confront us on this road to significance. We also welcome papers that question the very notion of ‘significant Shakespeare’ and argue that this is or is not what we should engage in at all.
Convenors: Nathalie Rivere DE CARLES (University of Toulouse-Jean Jaurès, France), Anne Sophie REFSKOU (University of Surrey, UK), and SHIMAZU Naoko (Yale-NUS College, Singapore)
This seminar discusses Shakespearean cultural diplomacy and its participation, theoretically and practically, in reconfiguring the global. Participants will seek to decentre the origin by detaching Shakespeare from ‘this sceptred isle’ in order to consider the diplomatic agency of the global South, new definitions of North/South and lateral relationships, and Shakespeare as an artistic language already possessed by cultural / linguistic others. Papers may consider the ethical, historical, and political limitations of a diplomatic use of Shakespeare (unequal power structures, misappropriations, misuses, the (im)possibility of separating hard and soft power); material diplomacy (Shakespearean gift-giving, objects, performances, exhibitions, museography); nodal points as spaces of intercultural and para-diplomatic exchange (centres of cultural heritage, physical and digital archives); dialogic choices by festivals, performances, and intermedial adaptations (multilingual/multicultural, accessible and/or specific cultural markers); rewritings (Shakespeare, diplomacy, and national representation, including representations of the nationless and stateless).
Convenors: Yu Jin KO (Wellesley College, USA), KUWAYAMA Tomonari (Kyoto University, Japan), and Linda MCJANNET (Bentley University, USA)
Choreographed movement is a foundational element of South and East Asian theatrical traditions, including Chinese opera, Noh drama, and Korean popular theatre. Movement-inflected and body-centred productions of Shakespeare have recently experienced an upsurge in North America and Great Britain. We can also look to contemporary Asian genres and the influence of globalization, including the popularity of video games, animé, and Bollywood films. The freedom opened up by the many forms of transposition in intercultural performances combine to mount new and provocative challenges to the dominance of the text in Shakespearean performance. We solicit papers exploring a variety of approaches to dance and movement in Shakespeare performance in any part of the globe: performance theory, stage history, cultural and post-colonial studies, adaptation studies, gender and queer theory. We also welcome contributions from theatre and film practitioners, including video clips with an accompanying artist’s statement rather than conventional essays.
Convenors: Hardin AASAND (Purdue University Fort Wayne, USA) and Paromita CHAKRAVARTI (Jadavpur University, India)
Hamlet’s request that Horatio ‘tell my story’ foretells the way in which his name would travel and negotiate global circuits of memory. Much of the action of the play is occupied with Hamlet’s attempts to figure out his own wiring, his internal circuitry of behaviour and identity as informed by personal recollection, Danish pressures, and familial expectations. This circuitry has also defined the historical record of responses during the past four hundred years. For the twenty-first century, Hamlet has attained the level of a cultural meme, a node in a circuit defined as a cultural, organic, generative platform for exploring and promulgating cultural and ideological agendas that undergird personal and national identities. This seminar invites essays from the expansive scholarly circuit on the editorial, performance, and cultural impacts of Hamlet’s circuitry. Especially welcome are digital incarnations of this play, the various platforms upon/into which Hamlet has been performed and inserted.
Convenors: Christian SMITH (Independent Scholar, Germany) and James W. STONE (American University, USA)
This seminar proposes to investigate circuits of psychoanalytic Shakespeare studies in the present world. Papers are invited on Shakespeare’s influence on Freud and the development of psychoanalysis; critiques of psychoanalytic theory in light of Shakespeare’s influence on the theory; international critiques, rereadings, and re-developments of psychoanalytic Shakespeare studies; elucidations and critiques, using Shakespeare, of subfields in psychoanalysis (Lacan, Laplanche, Jung, Reich, Frankfurtschule, Klein, Winnicott, feminist, LGBTQ+, eco-criticism); interdisciplinary explorations, using Shakespeare, of links between critical and clinical psychoanalysis; presentist readings of problems of our time (misogyny, racism, the rise of the far right, attitudes towards migrants, populist politics) through psychoanalytic Shakespeare criticism. Also welcome are readings of Shakespeare’s plays using any variant of psychoanalytic theory, psychoanalytic readings of contemporary Shakespearean adaptations (including films, graphic novels, and pop culture), critiques of translations of Shakespeare using psychoanalytic theory, and readings of Shakespeare through psychoanalytic theory developed in Asia and the Global South.
Convenors: Cyrus R. K. PATELL (New York University Abu Dhabi, UAE) and Kevin RIORDAN (Nanyang Technological University, Singapore)
This seminar aims to bring together three different but interlinked approaches to the study of ‘global Shakespeare’. Papers may, first, rethink traditional Shakespeare studies based on influence and intertextuality by investigating the ways in which Shakespeare was already a ‘global’ author in his own time, using stories, ideas, and settings from beyond his local and national contexts. Second, they may investigate the transformation of ‘Shakespeare’ into a global cultural commodity as the result of a material history of performance, publication, pedagogy, and translation. Third, they may examine Shakespeare’s plays as the focal point for a shared cultural heritage. ‘Shakespeare’ is a marker of both cultural difference and universal values, a cultural force that brings new work into being through a mixture of inspiration and antagonism. Approaches may include close reading, influence study, reader-response theory, literary historiography, history-of-the-book analysis, translation studies, materialist approaches, cultural studies, world literature theory, and digital humanities.
Convenors: Jim CASEY (Arcadia University, USA) and Amrita SEN (University of Calcutta, India)
For many, the essence of Shakespeare’s plays and poems is found in the language, but translations must identify some other element that constitutes the essential qualia of ‘Shakespeare’. A rhizomatic model, which approaches Shakespeare as a node on the rhizome rather than the central trunk of the literary tree, liberates the adaptations scholar from questions of textual fidelity and focuses the critical impulse on those ever-changing cultural processes that make up ‘Shakespeare’. This seminar addresses the relationship between traditional Shakespeares and newer Shakespeares (digital and real-world) within a global, non-Anglophone context, as well as the impact of these adaptations and new media on teaching Shakespeare. We welcome papers that explore circuits of translation in specific film, stage, and/or new media performances of non-English-language Shakespeare, with special attention paid to the qualities that make up ‘Shakespeare’ and what that means for adaptation studies and/or a particular adaptation itself.
Convenors: Mark BAYER (University of Texas at San Antonio, USA) and Jeanne MATHIEU (University of Toulouse, France)
This seminar explores the origins of institutions that perpetuate and maintain Shakespeare studies as an academic discipline in different national cultures. Shakespeare’s plays are formally studied and taught in almost every country in the world, but the ways in which they entered academic culture differ radically based on distinct national, cultural, and historical circumstances. How should we understand the vigorous academic commitment to Shakespeare in various nations? How has Shakespeare become an indispensable part of academic culture in nations that do not share an Anglophone heritage? Papers might explore Shakespeare’s place in the curricula in different countries; the figures instrumental in making Shakespeare studies plausible, possible, and desirable; the different emphases in Shakespeare scholarship in various cultural traditions; the special emphasis placed on specific plays in certain national contexts during times of crisis.
Convenors: Todd BORLIK (University of Huddersfield, UK), Ari FRIEDLANDER (University of Mississippi, USA), and Karen RABER (University of Mississippi, USA)
How do Shakespeare’s plays or their appropriations in other media trouble traditional ideas of ‘human identity’? By deconstructing both ‘humanism’ and ‘the human’, recent work has discovered convergences between the weirdly entangled objects that are Shakespeare’s texts and the embedded, extended, enmeshed, embodied posthuman global frameworks described by posthumanist and ecocritical theory. We invite papers detailing any dimension of this process that results in a challenge to the traditional definitions of humanism and the human, including those focused on disability, biopolitics, non-human actors, and the agency of non-human other animals, plants, machines, objects, systems and processes. Papers might deal entirely with Shakespeare’s world or might engage with cross-currents and influences among the plays and periods, between languages and cultures, or among diverse media. Particularly welcome are papers that look at adaptations outside the Anglosphere to interrogate Eurocentric conceptions of the ‘human’.
Convenors: Olivia COULOMB (Aix-Marseille University, France) and Marta Cerezo MORENO (National Distance Education University, Spain)
This seminar welcomes contributions that explore the ‘turn to religion’ in Shakespeare studies. Papers may consider how Shakespeare’s works have been reinvented in religious terms and used as religious ideological instruments; how Shakespearean explorations of spiritual themes can become pivotal in religious discourses worldwide; whether the religious instrumentalisation of Shakespeare and his work may contribute to the resolution of current religious conflicts; how circulations between secular and religious energies are propelled by Shakespeare’s religious afterlives; how diverse and inconclusive interpretations of Shakespeare’s religious beliefs and practices may have triggered different literary, religious, and political appropriations of the author and/or his work; how theology, divinity, and religious studies make use of Shakespeare. Possible contexts for the religious use of Shakespeare may include religious ceremonies and commemorative acts, politics and diplomacy, educational activities and institutions, fictional and biographical representations of Shakespeare, the complexities of translating and editing Shakespeare between cultures.
Convenors: SEO Dong Ha (Korea Military Academy, South Korea) and UCHIMARU Kohei (Toyo University, Japan)
While a central issue in Shakespeare studies has long been the subject of war and peace, the focus has been on western wars and, more recently, western colonialism and post-colonial politics. This seminar invites papers on any topics related to wartime experiences and post war memories, with a special emphasis on the historical events of the Pacific War, the Korean War, and the Vietnam War as seen through the translation, adaptation, and performance of Shakespeare on the transnational circuit. Especially welcome is work on historical events described through Asian terminologies and local cultural traditions in the process of appropriating Shakespeare. The seminar aims to offer a comparative glance across Asian countries in a manner that explores, as the Prince in Romeo and Juliet says, more of ‘these sad things’—the textual and cultural interpretation of the wars—for the possibilities of reconciliation in our contemporary world.
Convenors: Thea BUCKLEY (Queen’s University Belfast, UK) and Rosa Garcia PERIAGO (University of Murcia, Spain)
This seminar explores Shakespearean adaptations across the subcontinent to redress the lopsided emphasis on India in postcolonial South Asian Shakespeare scholarship. Underrepresented productions in Pakistan, Afghanistan, Bangladesh, Nepal, India, Maldives, Bhutan, and Sri Lanka highlight shared circuits of subcontinental histories, geographies, languages, and cultures across national borders. Papers may facilitate dialogue across political borders by studying interconnected subcontinental histories of Shakespearean negotiations and transmissions; explore how subcontinental diasporic communities engage with Shakespeare; examine intermedial relationships among texts, performances, and cinemas across centuries of interregional circulation, adaptation, and appropriation; discuss South Asian Shakespeares across postcolonial fracture lines of geography, identity, and community. The seminar will not only consider how South Asian adaptations of Shakespeare highlight the social divisions of caste, religion, gender, and geopolity but also suggest ways of rethinking these divisions by using Shakespeare’s plays as a tool for promoting intercultural dialogues across polities and traditions in South Asia.
Convenors: Ted MOTOHASHI (Tokyo Keizai University, Japan) and Noam REISNER (Tel Aviv University, Israel)
This seminar analyses the dramaturgical theories and practices behind the most innovative, ground-breaking, cross-cultural, and international Shakespeare productions of the twenty-first century. How do contemporary directors incorporate, interpret, and interrogate contemporary literary and cultural theories on translation, gender, race, ethnicity, and post-colonialism? A principal concern is to give serious attention to Shakespearean productions in the non-English speaking world that have the potential to deconstruct Orientalist/Occidentalist binaries by liberating themselves from the burden of colonialist Shakespearean legacies invested with English linguistic and cultural imperialism. Participants may analyse productions by those cross-cultural and international directors who have already established their reputations as leading theatre practitioners through multilingual, cross-cultural, and politically critical dramaturgy: van Hove, Warner, Ostermeier, Hytner, Icke, Castellucci, Purcărete, Miyagi. We also seek work about African, South American, and Middle Eastern directors. Especially welcome are comparative studies of the same Shakespearean play by two linguistically, culturally, and geographically different directors.
Convenors: Susan ANDERSON (Sheffield Hallam University, UK) and Sonya Freeman LOFTIS (Morehouse College, USA)
Disability theory argues that independence is an ideological construct, bringing attention to the ways in which access follows from interconnectedness and interdependence. This seminar focuses on disability in early modern, modern, and global contexts, with a particular focus on the nodes and networks that disability studies approaches reveal. How do we connect modern disability theory to the early modern period (or should we)? How do Shakespearean characters with disabilities connect with (or disconnect from) social structures and structures of power? How do other cultures approach disability and how can we find intersections between diverse understandings of disability? What were the lived realities of early modern people with physical and mental impairments, and how do theoretical and historical approaches connect to the lived experience of modern readers, students, performers, and audience members with disabilities? How are new developments in the field of disability studies affecting access to Shakespeare—in classrooms and in theatres?
Convenors: Krystyna Kujawinska COURTNEY (University of Lodz, Poland) and Bryan REYNOLDS (University of California Irvine, USA)
Shakespearean drama appeals to people of disparate circumstances; it mediates differences of time and place, race and gender, even religious and moral convictions and values; it is receptive to shifting paradigms of ideology and practice in research and theatre. To what extent have critical movements such as new historicism, feminism, queer studies, cultural materialism, presentism, post colonialism, and trauma studies transcended—or undermined—traditional norms of praxis and local values? The aim of this seminar is to explore how engagements of the global and the local are mediated through Shakespeare studies: to what end? with what benefit? at what cost? Does Shakespeare find this articulation because the plays transcend their local production, evoking a universal sense of human value, or because they are universally subject to local production, taking on the ability to mediate values like the dyer’s hand?
Convenors: Marcela KOSTIHOVA (Hamline University, USA) and Sara SONCINI (University of Pisa, Italy)
Lauded as a litmus test of transcendental humanism, Shakespeare has long served for nation-building and nation-subduing purposes across the globe, used flexibly by diverse entities to engage in cross-national cultural and political expression. This seminar seeks to explore ways in which ‘Shakespeare’—in translation, production, and adaptation—has responded to the sometimes headily confusing national and international policies proposed and/or practiced globally by newly emergent nationalist regimes, such as Brexit Britain, Putin’s Russia, Modi’s India, and Trump’s Great America. We particularly welcome considerations of emergent departures from traditional approaches to Shakespeare staging, adaptation, or appropriation. What role does Shakespeare play in this new political normal? What cultural positionalities are his works, his persona, and his cultural capital made to inhabit and to what ends? How is Shakespeare’s consolidated reputation as a global, transnational icon faring under the current surge in nativism worldwide?
Convenors: Simon HAINES (Ramsay Centre, Australia) and Julian LAMB (Chinese University of Hong Kong, Hong Kong)
Philosophers argue that literature is the form of language that best corresponds to life-with-value, in all its heterogeneity. Perhaps we live in a world of unresolvable value clashes. Or perhaps our danger lies in the thinning-out of our moral articulateness, the shrinking capacity of values thought to capture our social and political experience, the isolation and polarization of values communities. Can we turn to Shakespeare to be reminded of the manifold nature of modern human being; or that human experience often just is of living with incommensurables, and that resolving them entails values loss; or that great dramatic poetry both registers and generates, deepens and broadens, our values thought, above all by recognizing, and thus encouraging us to recognize, the reality of others? This seminar welcomes contributions on the broad theme of Shakespeare and value, including from philosophical, political, legal, historical, or socio-cultural perspectives, and from Western and non-Western traditions.
Convenors: LEE Hyon-u (Soon Chun Hyang University, South Korea), HSU Yi-Hsin (National Taiwan University, Taiwan), and YOSHIHARA Yukari (University of Tsukuba, Japan)
This seminar investigates the historical, political, cultural, and social circumstances of Asia’s encounters with Shakespeare between 1816 and 1964. Amid imperialism, colonialism, and war, what was the local Asian significance of Shakespeare? And how did Shakespeare function to incorporate Asia into the global networks of the modern world? The seminar will address issues such as: the ways in which Shakespeare was introduced to Asia; the circumstances of Shakespeare’s early reception; Bardolatry and Bardoclasm in Asia; relationships between modernization or westernization and Shakespeare; how Shakespeare was accepted and adapted in Asia; Shakespeare and education; colonialism or cultural hegemony and Shakespeare; conflicts between traditional theatre practices and westernized theatre practices; Shakespeare in cultural diplomacy. Participants need not be Asian, have Asian origins, nor live in Asia to share their knowledge and insights into the ways in which Shakespeare has been globalized and localized in Asia.
Convenors: Natalia KHOMENKO (York University, Canada) and Vladimir MAKAROV (St. Tikhon’s Orthodox University, Russia)
This seminar invites investigations of Eastern European engagements with the Shakespearean canon and with Shakespeare as cultural capital, from early modern English playing companies in Eastern Europe, to early Eastern European adaptations of Shakespeare’s works, to the global influence of twentieth-century Eastern European studies and stagings, to contemporary conversations produced through these engagements today. Topics may include: Eastern European encounters with Western traditions of both Shakespeare scholarship and Shakespeare performance (visits by individual actors, such as Ira Aldridge, or touring productions, such as Peter Brook’s Hamlet); forms of cultural collaborations and exchanges among Eastern European states; Eastern European approaches to Shakespearean drama in the context of local and international political tensions, including the influence of and resistance to Soviet cultural ideologies; export of ideological approaches to Shakespeare outside of Eastern Europe; global encounters with and responses to Eastern European treatments of Shakespeare on stage, in film, or in text.
Convenors: ZHANG Chong (Fudan University, China) and Roberta ZANONI (University of Verona, Italy)
The term ‘tradaptation’ refers to the narrowing distance between translation and adaptation in contemporary cultural production. This seminar explores ways in which the two practices are merged into a single process that enriches both our understanding of Shakespeare’s works and the experiences of global audiences. Papers are welcome on the passage of Shakespeare’s words from one linguistic context to another; the losses and gains of interlinguistic and transcultural translations; interlinguistic translation of Shakespeare as a form of adaptation; the impact of new translations on traditional scenarios; translation as a tool for performance; Shakespeare ‘re-semanticised’ through translations and/or adaptations that confer new meanings on Shakespeare’s original words; trans-medial translations of Shakespeare’s poems and plays in film, advertising, musicals, opera adaptations, and sign language translations; how Shakespeare is adapted for political debate; transcultural adaptations and how they reflect (linguistic) experiences of liminal identities; the reception of contemporary Shakespearean translations and adaptations.
Convenors: Victor Huertas MARTIN (University of Valencia, Spain) and Reto WINCKLER (South China Normal University, China)
The reception history of Shakespeare’s works is mirrored in the trajectory of television series as a form of popular entertainment that has come to be appreciated as high culture. At both levels, Shakespeare is frequently alluded to, parodied, ransacked for characters and motifs, and emulated wholesale. This seminar welcomes theoretical papers and case studies that revise Shakespeare studies to bear on the analysis and interpretation of Shakespeare-inflected television serials; account for the proliferation of Shakespearean memes, echoes, allusions, citations, narrative structures, and references in contemporary television series; define adaptation practices in serial Shakespeares; discuss serial Shakespeares around the globe; undertake critical theory and cultural studies approaches to Shakespeare and television series; address gender, race, and class in serial Shakespeares; critically assess analogies between Shakespeare and television series; analyse the impact of television serials on contemporary Shakespeare performance; evaluate presentist approaches to Shakespeare and television; and more.
Convenors: Daniel GALLIMORE (Kwansei Gakuin University, Japan) and Vasso GIANNAKOPOULOU (University of Cyprus, Cyprus)
Freed from traditional notions of equivalence and fidelity, Shakespeare’s translators are now seen as agents in disseminating Shakespeare’s works and mediating Shakespeare’s reception. But while they may privilege certain parts of the source texts (key words, tropes, etc.), they are always constrained by the norms of their target culture. How is digital technology influencing the process in today’s global translation industry? Has it become more collaborative? More creative? How audible are the voices of translators in Shakespeare translation, and what are they saying? Is Shakespeare’s highly nuanced and stylistically rich language still the concern of the refractors? What is the future of Shakespeare translation in the twenty-first century? Possible topics include transgression and adaptation, stage translation and performativity, appropriation for traditional and digital media, dichotomies of popular and scholarly translation, domestication versus foreignization, subtext and narrative structure, political correctness and censorship, ideology and patronage, audience response and participatory culture.
Convenors: Sukanta CHAUDHURI (Jadavpur University, India) and Ruth MORSE (Sorbonne Paris Cité University, France)
Why is so much Shakespearean dialogue divided, across characters but also within the same character, between Saxon monosyllables and Renaissance polysyllables? In Macbeth’s ‘this my hand will rather / The multitudinous seas incarnadine, / Making the green one red’, the two components are juxtaposed to express the same experience of the same character. Othello and Iago speak in contrasting registers that are actually composite; they hold the complex, contrary elements of the dramatic blend in tension, subverting and deconstructing it, but also validating it at multiple levels where no single one would have sufficed. Most crucially, these tensions in the dialogue underpin the more basic, though often hidden, tensions of the action. We invite our participants to explore the play of varying linguistic registers across Shakespeare’s work. We hope that the total output of the seminar will form a rich contribution to the understanding of Shakespeare’s dramatic language.
Convenors: Peter GROVES (Monash University, Australia) and Lieke STELLING (Utrecht University, Netherlands)
This seminar addresses echoes and distortions both of the Reformation and of the Catholic Middle Ages in the drama of Shakespeare and his contemporaries, focusing on how their art reflects, performs, and transforms religious identity on the early modern stage. Papers might explore complex relations between early modern dramaturgy and contemporary theological controversies; study how non-Christian religious identities, particularly Islamic and Judaic, are engaged with in early modern drama; uncover and elucidate meaningful connections among religious quotation, allusion, echo, revision, and reference; consider the relationship between religious group identities and other forms of identity and distinction, such as race, gender, and class in early modern drama; investigate relationships conducted via Shakespeare and his contemporaries between paganism, Catholicism, and Protestantism; explore the reception, translation, transmission, and interpretation of religious identity in drama; address other aspects of early modern religious debates and discourses, both Christian and non-Christian, in relation to group identity.
Convenors: Supriya CHAUDHURI (Jadavpur University, India) and Subha MUKHERJI (University of Cambridge, UK)
Shakespeare is the author cited most widely and variously ‘without quotation marks’: allusions and intertextual references to his works are so numerous that they are said to prove how ‘Shakespearean’ our everyday language is. The shock of familiarity and renewed attention triggered by a Shakespearean trace are unmistakable. But this is also an echo of Shakespeare's own practice—remarkable for its discursive woof of resonant but unmarked citations. Focusing on individual instances of contrapuntal allusive trajectories, this seminar will examine the cultural work that such reference can do, reading for textual traces both in Shakespeare and in later works using both his content and his method. We hope, thus, to undo the politics of the text by examining an undertext of citations that are familiar at one level and disruptive, perhaps estranging, on another.
Convenors: MINAMI Ryuta (Tokyo Keizai University, Japan) and Ronan PATERSON (Teesside University, UK)
In Britain, the (long) eighteenth-century witnessed an almost uncontrollable proliferation of Shakespeares on page and on stage that featured popular actors and actresses: Thomas Betterton’s Hamlet, Barton Booth’s Othello, David Garrick’s Macbeth, Charles Macklin’s Shylock, Elizabeth Barry’s Cordelia, Anne Bracegirdle’s Desdemona, and Mrs. Siddon’s Lady Macbeth. A plethora of notable Shakespearean actors’ and actresses’ theatrical representations were recorded, depicted, illustrated, analysed, and circulated through contemporary media artefacts. This seminar aims to consider the ways such actors and actresses visually and theatrically represented Shakespeare’s roles; the ways their performances were criticized, depicted, reviewed, or recollected; the acting theories those actors and actresses developed and/or applied in performing Shakespearean roles; and the ways their theatrical performances were painted or illustrated on canvas or pages for consumption.
Joseph STERRETT (Aarhus University, Denmark) and Helen WILCOX (Bangor University, UK)
'Early' modernity was shaped by globalisation that brought people from distant lands into contact with each other, simultaneously giving a new awareness of time across vast spaces and challenging known ways of establishing trust through objects, words, rituals, and gestures. Dramatic changes in social systems called for new ways of extending and maintaining trust while evaluating risk. ‘Chance’, ‘venture’, ‘hazard’, were part of a vocabulary that signalled cognizance of the emerging complexity of the social environment. How did Shakespeare and other dramatists interrogate the notions of trust, risk, chance, and probability? What virtues were linked to the expression of trust? What vulnerabilities did trust expose? How does the early modern stage’s engagement with trust and risk look back toward medieval values? How does it look forward to the modern? Papers are invited that address these and related issues of trust and risk in the work of Shakespeare and his contemporaries.
Convenors: Mark HOULAHAN (University of Waikato, New Zealand) and Elizabeth PENTLAND (York University, Canada)
Twelfth Night remains a favourite Shakespeare comedy, continually performed, received with enthusiasm by audiences worldwide, and subject of a capacious ongoing criticism. Its productions attract celebrated directors and actors, with Tamsin Greig and Stephen Fry recently playing Malvolio. It has been performed in diverse languages and with Illyria imagined in highly specific, local contexts, such as Australian bush-fires. Scholars, meanwhile, have been confidently empirical about the date of composition, for which John Manningham seems to provide firm documentation, and the copy text, for which the First Folio is a sole authority. But how transparent is such evidence? Can it be revisited? This seminar invites papers engaging issues of gendering in pronouns and costumes; the play’s shifting tones of the festive, the frankly cruel, and the melancholy; paroxysms of folly that go far beyond the ‘midsummer madness’ of its central love plots; and any other topics Twelfth Night draws out.
Convenors: Heidi CRAIG (Texas A&M University, USA), Eric JOHNSON (Folger Shakespeare Library, USA), and Jesús TRONCH (University of Valencia, Spain)
How can we harness digital communications media to establish new circuits—and strengthen existing ones—across the international, multilingual community of Shakespeareans? What would a truly internationalized interface for Shakespeare’s works look like? Could English be decentred as the default language for engaging with Shakespeare? What kind of interconnections or ‘maps’ would help users locate the digital resources that are most useful to them? Is current scholarship catching up to technology or working within the paradigms of older media? How have digitized facsimiles of manuscripts and early texts transformed Shakespearean engagements across the globe? How can we continue to widen access and reach new audiences? This seminar will consider digital resources that leverage global populations’ engagement with Shakespeare by describing those engagements, linking to them, and/or providing space for outside contributions for new engagements. Participants may present their in-progress or completed digital projects, critique existing resources, or propose yet-unrealized projects.
Convenors: Victoria BLADEN (University of Queensland, Australia), Melissa CROTEAU (California Baptist University, USA), and Remedios PERNI (University of Alicante, Spain)
This seminar explores how images of women circulate in Shakespearean visual media, including film, television, and the internet; photography and the fine arts; and popular art. It envisions women and the ‘feminine’ broadly from the perspectives of gender fluidity and flexibility in performance, as represented by stage practice in Shakespeare’s age and with the understanding that gender definitions and expectations are always contextual, rooted in particular times and places. We invite papers that investigate the intermedial and intramedial circulation of imagery, themes, and aesthetics connected to women and the ‘feminine’: the representation of female characters; portrayals of ‘femininity’, gender fluidity, cross-dressing, and transsexualism; women acting in screen media (including issues of celebrity); and the experience and work of women visual artists who produce Shakespearean texts, including adaptations, offshoots, and other types of appropriation; how visual media influence and are influenced by stage productions.
Convenors: Sheila T. CAVANAGH (Emory University, USA), Scott JACKSON (Shakespeare at Notre Dame, USA), and Rowan MACKENZIE (Shakespeare Institute, UK)
The use of Shakespeare in applied settings has grown significantly in recent years, as has academic interest in this area of the discipline. The field encompasses Shakespeare initiatives for those within the criminal justice system, youth and adults with learning disabilities and neurodiversity, mental health service users, veterans, and those who have experienced homelessness. The facilitators for this workshop have both academic and practical experience of working with people across these settings around the globe and with initiatives such as Blue Apple Theatre, Marin Shakespeare, Flute Theatre, Shakespeare Behind Bars, Intermission Youth Theatre, and The Gallowfield Players. We invite scholars and practitioners with related interests to bring their own experience and knowledge; to engage with theoretical, practical, and critical issues; to address the benefits and challenges of using Shakespeare with these often-marginalised groups and in non-traditional settings. The workshop focus is on creating new circuits of dialogue and collaboration worldwide.
Convenors: Miguel Escobar VARELA (National University of Singapore, Singapore) and HWANG Ha Young (Korea National University of Arts, South Korea)
There is a long tradition of using digital tools to study Shakespeare’s words: to engage in authorship disputes, to analyse his choice of words, or to understand changes in his style over time. Likewise, digital editions of Shakespeare’s original oeuvre have been central to the digital humanities. But digital tools also offer exciting new possibilities to those interested in analysing adaptations of Shakespeare’s works around the world. This workshop will offer an overview of what network analysis, geo-temporal visualization, and multimedia critical editions can offer to the study of Shakespeare adaptations. We will cover the main conceptual and technical tools that can aid in such investigations.
Convenors: Nona MONAHIN (Monash University, Australia) and Emily WINEROCK (Chatham University, USA)
For the thirteen Shakespeare plays with staged dancing, modern directors must find or create choreographies that fit the dialogue and action; for the twenty with textual references to dance, they must make the references intelligible to today’s audiences. Through a combination of discussion, examination of primary sources, and physical participation, this workshop will introduce participants to several period dance genres and gestures (bows, ‘honours’, character portrayal, rustic and courtly styles) and discuss the types of scenes and situations in which they would be appropriate. Working in small groups, and guided by the workshop leaders, participants will stage selected dance scenes incorporating the steps and choreographies learned. Participants will also reflect on how knowledge of historical dance movement can enhance an understanding of Shakespeare’s textual references, how dance scenes might be handled in productions not using period staging, and the challenges and opportunities afforded by productions in translation.
Convenors: Eric NICHOLSON (New York and Syracuse Universities, Italy) and Elena PELLONE (Shakespeare Institute, UK)
Articulations and dissolutions of borders are crucially at stake in Antony and Cleopatra, pertaining as much to ambiguities of self /other as to political and cultural confrontations. How can this dynamic tension within the script be communicated through live performance, in potentially innovative ways? What techniques can actors use to embody and communicate crises, discontinuities, and transformations, related not only to Cleopatra’s ‘infinite variety’ but also to the worlds that she alters through her performances? How might theatrical experimentation enable an opening and freeing up of circuits involving identity and difference across European and Asian cultures, circuits that historically have tended toward closure and restriction? How can diverse performance traditions such as commedia dell’arte and Kabuki, as well as different scholarly interpretations, be introduced and made to interact? Through practical exercises that encourage rotation and fluidity in ethnicity and gender, this multilingual, experimental workshop also will explore performance as research.
Convenors: Liam SEMLER (University of Sydney, Australia) and Laura TURCHI (University of Houston, USA)
How can new digital tools short-circuit sluggish pedagogical processes, help us rethink traditional curriculum structures, and prompt more lively and engaging classes? This workshop introduces participants to four intriguingly different learning platforms. Shakespeed is an open-access, gamified approach that uses a digital flipcard interface to connect students with short videos. It can be played during class to trigger lively discussion of the plays and their connection to modern issues, adaptations, and aesthetics. WordPlay Shakespeare, MyShakespeare, and Performance Plus are web-based text/performance editions enhanced with hyperlinks to video glosses and performances through which students move to make meaning. How do these tools fit within formal educational settings? What learning tasks might be associated with them? What learning outcomes might they generate? What fresh Shakespearean circuits might they facilitate within and beyond the classroom? How does enjoyment advance learning?


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There was clearly some magic stardust floating around last night, and it's effects were still on all of us as we slowly emerged from slumber, none of us sure whether we actually wanted to eat another thing ever again, or for that matter not sure if we were even ready to start a new day, all trying the keep the memory of last night alive for as long as possible.
It was captain Jojo who cracked in the end, cracked eggs and beat the contents into submission to fortify us for our day's journeying, not that any of us felt as though we needed sustenance of any description beyond perhaps a coffee.
We have been travelling for a week since the time we called Pouilly-en-Auxois home, but we are in Jacques' old stomping grounds and in less than twenty minutes in the car we were back, ten minutes later we'd turned back on ourselves and we once again found ourselves in Chateauneuf. We had taken about half the time to drive in this roundabout way from the boat to Chateauneuf than it took us to walk there last week when the boat was moored at the bottom of the hill!
It seems that we have actually found a recipe for making time travel slowly, and if it isn't actually time that is travelling slowly, there can be no argument that we are.

domain: literature


Government Contract : SP071106ML453 | SP0711-06-M-L453
There is only one contract action for this government contract. The procuring agency is 97AS: Defense Logistics Agency.
The item name for this contract is: BASE,REAR SIGHT.
|Back to Agency List||Recent contract actions|
|Government Contract||Delivery Order||Line Item||Quantity||Price||Agency||Award Date||sp071106ml453||MODF||0001||Free Trial||97AS: Defense Logistics Agency||2006-04-13|
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Federal Supply Classes for SP071106ML453
1010 - Guns, over 30mm up to 75mm
Includes: Includes Breech Mechanisms; Mounts; Grenade Launchers for Integral-Cartridge Grenades, Single-Shot or Auto-Loading or Automatic-Firing.


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Kathleen Edwards with Jim Bryson & Gord Tough, live in London
I’m really pleased to see Kathleen’s LP Voyageur featuring in plenty of people’s Top 10s for 2012. It’s my joint number 1 with The Mastersons to save anyone looking.
She’s just played two nights in London at Bush Hall in Shepherds Bush. I was there, last night, for the second of them.
She opened with Asking For Flowers and performed it with rage rather than the sense of resignation that pervades the original version and it is utterly riveting. Kathleen, with her hair wildly flowing behind her looked more pre-Raphaelite than ever, but here she was coming over like a method actor!
This intense mood continued through Empty Threat and Chameleon/Comedian, but isn’t sustained into House Full Of Empty Rooms. The song is instead rearranged to fit the trio format and this new version is eerily beautiful.
Sidemen Jim & Gord provide empathetic support throughout; Gord’s guitar solo on Going To Hell is a real standout memory, but he was outstanding all night. Jim just seems to be her perfect foil – you can understand why she wrote I Make The Dough You Get The Glory for and about him. He’s a low key star.
The set draws mainly from Voyageur but covers all her albums. Other set highlights include Change The Sheets and an incendiary In State which was part of the first encore. There are also 3 new songs; one (Back From the Dead?) she says she wrongly left off Voyageur when many people told her she had to include it; another titled Football’s In The Grass was performed solo and off stage on the grand piano at the rear of the hall.
It’s here at the other end of the hall that the second part of the encore takes place. Kathleen calls us to gather round. Jim plays piano while she and Gord play acoustics. We get treated to a beautifully intimate version of Mercury followed by a curfew busting, fun loaded Sidecars. A magical, cake-icing end to a great evening’s music.
If the intensity of the first three songs could have lasted through the night I think I would, without doubt, have witnessed the best gig I’d ever seen. As it is I’ve seen some great performances by female artists this year. Kathleen herself earlier in the year on my birthday, Gretchen Peters, Shelby Lynne, Suzy Bogguss, Tift Merritt and Matraca Berg have all thrilled, excited and moved me, but the best of the year was (probably) the last of the year. She was simply magnificent.

domain: artistic


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Investing in Today's Markets
Peter Braun of UBS will host an investment seminar on Tuesday May 22nd at 5:30 pm.
• Investor considerations in an uncertain market
• Determine the appropriate investment strategy for you
• Obstacles facing investors — real or imagined
This event is free but space is limited. Please contact Gail Dubois at 303-441-5365 or firstname.lastname@example.org to reserve your spote.
Created by stewis
1801 13th St. Suite 100
Boulder, CO 80309

domain: economics


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New Short Story for Kids written by: Leonor Sanchez.
Once upon a time…
There was a very conscientious man, always making sure that his flowers were well fertilized, watered and that there was enough sun to keep his garden beautiful.
In his garden were roses, peonies, daisies, carnations, petunias, lavender, even beautiful orchids, all kind of flowers and aromatic plants that were his pride and used to share it with whom he could.
One day saw a new flower between his, that he did not had sow, but cared for it anyway, like as he did with the others, until the timid blue flowers appeared.
The gardener did not like it, he had expected beautiful big flowers instead of little blue flowers.
So, stopped caring for it, stopped watering it, did not even looked at it when was outside. The poor blue flowers died leaving little black seeds there.
One day, God appeared to the gardener asking for the little plant of blue flowers, the gardener showed him the most beautiful plants he had, but God insisted on seeing the blue flowers. The gardener told him that the plant had died, but he had the seeds, so he could sow it again, and show it to God when the plant grows.
God asked him for the seeds carefully, and said:
– “I have sent you the most humble and small flower because I thought you were going to care about her like you do with the others, in order to teach you that beauty is everywhere, not just where you want to find it. Due to your pride and your self conceit I won´t give you that chance, and I will give the seeds to another gardener who appreciates that my glory is in the most small and insignificant things”.
– “Sir! . replied the gardener – “Please forgive me for not having appreciate it, I just want to know the name of the little flowers.
And God answered: “They are called Forget-me-not.
And that is the end of the story…
Moral of the story: Sometimes, appearances are deceptive, take care of everything around you.
Share this short story for kids with your friends on Facebook, Google +, or Twitter with the buttons you’ll find at the end of the story. Thank you!
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Short Story for girls and boys written by: Graccgi. Once upon a time… …there was a mouse called Rudolf who was a very bad mouse. One day, Lucy, Rudolf´s neighbour came back from shopping and needed help carrying her bags full of food, so she asked him: – “Hi Rudolf, Can you help me to carry…
THE KIDNAPPING of SNOW WHITE
Short Story for boys and girls written by: J.Eduardo Lopez.M (Mexicali) In one kingdom on our planet living in peace and harmony were Snow White and the seven dwarves. One day, some ruffians appeared and kidnapped Snow White, leaving a note that said: “Give us 100 million dollars If you want to see Snow White again. Signed: The…
Short Story for boys and girls written by: Lorena Ochoa. In a faraway city, four beautiful girls lived with their Mum and their Dad. The girls loved Christmas, especially the presents they were given. One day, the girls asked their father: – “Does Santa put magic powder taken from fairies over his reindeers so they can fly?”…
THE ADVENTURES OF THE DOG, THE BADGER AND THE CAT (SECOND PART)
Short Story for Kids written by: Mariache (Nicaragua) Click to read: THE ADVENTURES OF THE DOG, THE BADGER AND THE CAT (SECOND PART) …Without thinking about it, Boy-boy jumped into the car and Napoleon ran after him, because his friends were inside. “Ooh, Boy-Boy” – Bubu said almost crying when he saw his friend –…
Next ArticleTHE GIRL AND THE MORAL VALUES


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Natural home remedies for hiccups: Every one of us has had hiccups at some time after all hiccups are frequent. Sometimes there can be many reasons for hiccups. But if you have constant hiccups then according to medical science this is a disease. Have you seen Rani Mukerji's film 'Hichki'? If yes, then you may know that 'Hichki' can be such a severe problem. The film features Rani Mukherjee as a woman with Tourette syndrome who wants to become a teacher. But due to her strange hiccup problem, she becomes a character of ridicule. Tourette syndrome often occurs in adolescence and sometimes due to genetic and environmental reasons. It is a neuro-behavioural disorder, which is caused by the non-functioning of that part of the brain, which is responsible for moving and behaving any part of the body.
Try these solutions for hiccups
There have been cases of hiccups in children. Doctors believe that the process of hiccups calms the child, reduces the powerful lungs as well as other organs during the period of active development, so the child hiccups in the womb. To prevent this, the mother has to go to an open and airy place. If sometimes you also get upset with hiccups there is a pain in the stomach. In such a situation, you can drink cold water, eat sweets or try to stop breathing for a few seconds, can also swallow ice or fill the air in the balloon or bag.
When does hiccup occur?
- Hiccups also have a scientific definition. Hiccups are caused by the shrinkage of our diaphragm (inventory contention). The membrane is the part of our body that separates your chest from the stomach and plays an essential role in exhaling. Due to involuntary contraction of the diaphragm, our vocal cords (which allow the person to make different types of sounds) are closed for a short time due to which the sound of hiccups is produced.
- Many times people also associate hiccups with many concepts, such as, they are happy to believe that one of their benefactors is remembering them wholeheartedly, and that is why they are having hiccups. If they also recognise the same person in their mind, then their hiccups will stop immediately.
Let's know some home remedies to prevent hiccups
- Pippali, Indian gooseberry, dry ginger, 2 grams of its powder mixed with 10 grams of sugar and one teaspoon of honey, using it, again and again, reduces hiccups and respiratory diseases.
- Taking 10-20 ml juice of Indian gooseberry and 2-3 grams powder of pipal powder with two spoons of honey twice a day helps in hiccups.
- Mixing 3 grams of Pippali powder and 5 grams of honey in 10 ml gooseberry juice provides relief from hiccups.
- Amla, dry ginger, small peepal and sugar powder do not cause hiccups.
- The use of Indian gooseberry syrup is very beneficial in hiccups.
- Lick and mix lemon and honey (1-1 teaspoons).
- Eat mint leaves with sugar, or eat one spoon of pure ghee.
- Mix 2-3 black pepper and sugar candy and keep it in the mouth. You can also mix sugar candy with amla.
- Mixing a little black sugar in cream or butter also prevents hiccups.
- Eating food in haste, eating chilli food, drinking alcohol also causes hiccups. In such a situation, if the hiccup is not stopping, put a finger in both ears and stop the breath for a while.
Read More Similar Articles in Home Remedies
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domain: medical


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You asked! We delivered!
That’s right, here at PopUp Painting we take our feeback very seriously. We listen to all your comments especially when new animal themes are concerned.
Summer is here, it’s bright, it’s beautiful, and it’s hot with animal fever in town. Don’t believe me? You’d believe Google though… right? Well let me save you the search hassel. London Zoo lates are almost at the end of their adult wildlife nightime entertainment, (What a shame!). The Natural History museum are celebrating the new arrival in the Hintz hall with a series of animal themed movie nights, (Someone get me a ticket!). The Mall Galleries will be showcasing the Wildlife Artist of the Year exhibition and PopUp Painting has a ROARING animal themed July/August… Well it’s not completely themed, we also have your favourite classics, but you get the point!
With paintings from Pop Art to Banksy. Our painting nights out are the unmissable events of the summer!
Put your best stripes on and into action! Join our Painting and Prosecco night at the Ape & Bird in Soho! We are going to be sparkling with colour painting Warhol’s Grevy Zebra. Places are limited so book asap! RIGHT HERE!
If Zebra’s don’t take your wild side then perhaps Banksy will. Our version of his Elephant with have you stampeding to the event! Now we know elephants have a great memory, so join us in Monument on the 8th August and DON’T FORGET TO BOOK HERE. 🙂
Did someone say Monkey? No ape? No… Well it doesn’t quite matter does it. You don’t need any experience to take part in one of our events, and you can paint whatever you like! So not matter the choice you will be beaming with colour. Join us on the 20th July in Notting Hill to paint Banksy’s Laugh Now Monkey… No Ape…. Whatever…. Just Paint, Drink ,Create and you’re guranteed a great laugh on a night out with PopUp Painting! BOOK HERE!
See you wild things there!


The logo for the District of Kent’s 125th anniversary has finally been revealed.
After launching a contest back in January, the District of Kent 125th Celebration Sub-Committee has chosen a winning logo, featuring corn, cows, Mount Cheam, the river and a few historic buildings.
The logo, which was unveiled in the District of Kent’s council meeting, will be used to brand banners and collectible paraphernalia for the district’s anniversary celebrations next year.
Because of the size of the logo, the sub-committee also developed a corporate logo that could be used on small items, such as newspaper ads and district-related materials like letterheads and the Leisure Guide.
This logo uses the District of Kent’s corporate imagery, as well as incorporates wording to celebrate 125 years as a municipality. Kent council voted to approve the corporate logo during the meeting Monday night.
Kent staff will begin using the 125th anniversary corporate logo in December of this year to build awareness for the quasquicentennial celebrations.
Although the official schedule of events have not been released, the year-long celebrations will likely include a time-period council meeting, a historic tea and a summer-time Homecoming, among other events and activities throughout 2020.


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Jazz enthusiasts in the Golden Triangle area will once again enjoy their favorite music when the Symphony Jazz Combo of the Starkville/MSU Symphony Association performs Oct. 18 at the Renasant Plaza. The combo will play a variety of jazz favorites including Duke Ellington, John Coltrane, Sonny Rollins, Wayne Shorter and Cannonball Adderley.
The program will begin at 6:00 p.m. at the Renasant Plaza on East Lampkin Street in Starkville, and will be conducted by Dr. Cliff Taylor, associate director of bands in the Music Department at Mississippi State University. Jazz at the Plaza is once again sponsored by Renasant Bank.
The Jazz Combo, including Dr. Taylor, is comprised of many musicians in the Golden Triangle area. Throughout the more than 15 years of its existence, other musicians have joined or replaced those who left. Nonetheless, the group has continued to enjoy playing music they all love and entertaining audiences in the process.
Jazz at the Renasant Plaza is free and open to the public.
You can help your community
Quality, in-depth journalism is essential to a healthy community. The Dispatch brings you the most complete reporting and insightful commentary in the Golden Triangle, but we need your help to continue our efforts. Please consider subscribing to our website for only $2.30 per week to help support local journalism and our community.


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January 10th, 2018
State of the State Response: Tyler Davis for Governor
Governor Ricketts continues to march down the path of economic ruin that our neighbors to the south in the state of Kansas had experienced. Kansas was forced to reverse its slash-and-burn approach to state budgets and taxes when critical funding to schools and infrastructure were threatened. Based on today’s State-of-the-State, this is the future that our Governor wants for our people. His continued apathy for Nebraska’s budget shortfall, and willingness to cut to achieve short-term political gain will harm working families. Especially the hard working families of Nebraska’s farmers and ranchers who Governor Ricketts failed on property tax relief when we could’ve had a greater impact, and instead chose to defer to big corporations and his wealthy friends. Now on the eve of the largest tax overhaul in decades, he turns a blind eye to the example of Kansas Governor Brownback and looks to further sink our State into a funding crisis.
In Governor Ricketts’ plan, he tells us education and corrections are funding priorities, but faced with the prospect of continued budget freefall, this is only lip service on what should be saved on a sinking ship. Continued fiscal drain in our educational system, especially our universities, appears to align with our Governor’s opinion on public education, which is that he doesn’t like it. Public education is a vital avenue to help the everyday people of Nebraska gain better employment prospects during a time when many sectors face a labor shortage, and Governor Ricketts looks to narrow that road.
The tuition burden that continues to push the next generation of Nebraskans further into student debt is real, and affects everyone, especially those who come from middle or lower class backgrounds. Undoubtedly, student debt, an issue that Governor Ricketts never had to personally worry about, was not a priority, which is probably why the topics of rising tuition or student debt weren’t mentioned once.
Nebraska’s place as one of the best states to live in the country, is no excuse not to address the systemic issues of poverty, lack of access to education, and healthcare. Governor Ricketts forgot that to ensure Nebraska is the good life for all, that he needs to address the concerns which affect us all.
Where Governor Ricketts failed, a Governor Davis would succeed. Tyler Davis has a forward thinking policy that looks to raise the prospects of all Nebraskans, not just the wealthy few.
Consider supporting us with your time or your donation at tylerdavisforgovernor.com/

domain: sociology


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The internet makes everything easier. Sit down at your computer for half an hour, and you can pay your bills, order dinner—and, now, leave the Lutheran Church of Norway, all in just a few clicks.
As Agence France-Presse reports, the Church’s recent attempt to help people keep track of their religious status online has resulted in a “one-click exodus,” as thousands of former Lutherans click “unsubscribe” on their faith.
Until 2012, Lutheranism was Norway’s official religion, and the state has been bugging the church to clean up their messy records for years. To enable this, the church set up a website last Monday to help people check their enrollment status or to sign up.
But they also provided the option to unenroll—which proved far and away the most popular feature. According to the church’s website, the first day the page was up, 10,854 people clicked the let-me-out button. By Friday, that number had climbed to 15,035. (About 550 people opted in instead, leaving the Church with a net loss of around 14,500 people.)
Poll data shows that fewer and fewer Norwegians consider themselves Christian, and the church wasn’t surprised by the mass exit. As spokesperson Kristin Gunleiksrud said in a statement, “No one should be a member against his will.”
Update, 8/22: In 2012, the Lutheran Church separated from the state, and Norway no longer has an official state religion. The article has been corrected to reflect this. Thanks to Malin Abrahamsen for the correction and we regret the error.
Every day, we track down a fleeting wonder—something amazing that’s only happening right now. Have a tip for us? Tell us about it! Send your temporary miracles to firstname.lastname@example.org.

domain: news


text: Vetera 4XP + WNV is for the vaccination of healthy horses 4 months of age or older as an aid in the prevention of disease caused by Eastern and Western Encephalomyelitis, and tetanus. Also as an aid in the prevention of viremia and mortality, and in the reduction of severity of clinical disease caused by West Nile Virus and in the reduction of respiratory disease and shedding caused by A2 Equine Influenza virus. Product contains Kentucky Lineage (KY/95), Florida sublineage clade 1 (OH/03), and Florida sublineage clade 2 (RI/07) equine influenza strains. Efficacy (DOI) has been demonstrated for at least 6 months against OH/03. The duration of immunity against West Nile Virus is at least 12 months. Single doses come in a syringe.


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Barcelona are refusing to pay a €26 million bonus to Neymar for signing a five-year contract renewal last year.
In a separate issue, the Catalan giants are seeking €8.5 million in compensation from Neymar for breach of contract following his world record €222 million move to PSG in August.
Neymar’s family hit back the very same day with their representatives expressing their “surprise” at Barcelona’s compensation claim “given that the player fully respected the contract valid at the time”.
The club’s latest move comes two days after Neymar fiercely criticised Barcelona’s under-fire board after scoring twice in a stunning home debut as PSG beat Toulouse 6-2 on August 20.
“There are people in charge that shouldn’t be there,” Neymar told reporters.”Barca deserve much more and everyone knows that.”
AFP / Bertrand Guay

domain: sports


text: The Mitsubishi A6M Reisen (other names: Zero or Zeke) is a Japanese, single-engine, all-metal low-wing fighter aircraft from the Second World War. The flight of the prototype took place on April 1, 1939, and it was put into service in the summer of 1940. The first prototypes were powered by a Mitsubishi Zuisei 13 engine, but from the A6M2 model 11 onwards, the Nakajima NK1B Sakae 12 engine with 950KM was used, which made the aircraft one of the best we early war period plum town. New versions were written just before and during the war. One of the most famous was the A6M2 model 21, prepared at the beginning of the Pacific war, its special version with folding wings for aircraft carriers, which became the basic Japanese on-board fighter. The next versions are A6M3 and A6M5, each of which had several versions. The first one used the 1130 HP Nakajima Sakae 21 engine with a compressor, which, however, meant an increase in weight and a decrease in range and maneuverability.

domain: history


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What is Gastric Dilation Torsion (GDV)?
Gastric torsion, or Gastric Dilation Volvulus (GDV) Syndrome, means twisting of the stomach, which usually occurs because the stomach has become filled with gas. It mainly occurs in deep-chested breeds .
What causes gastric torsion?
The cause of the condition is seen as a bit of a mystery. It is thought that if there is enough room in the abdomen for gas-filled organs to move then occasionally they will. This is why the condition is most common in deep chested dogs. So why do the organs become gas-filled in the first place?
There are two likely triggers.
The first is anxiety. Animals (including humans) usually swallow more air when they are anxious. This is known as aerophagia (literally “eating air”) and it is usually seen in stressed, kennelled dogs. The constant intake of air causes the stomach to balloon in size, which changes the abdomen’s normal organ layout.
The second suspect is diet. If dogs are moved onto very fermentable foodstuffs that produce gas at abnormal rates, the stomach can struggle and not deal with the gas efficiently by burping or passing it into the intestines.
Either way the dog is now bloated, which is an emergency in itself even if not one requiring surgery. If this inflated stomach twists however, the situation rapidly changes from serious to catastrophic.

domain: biology


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The following video is the rough stage of my final for Intro to 2D Animation. There is no sound at the moment, but that will be fixed once I figure out who wants to voice act for it and when Miles a finishes the music. The animation is roughly a minute long.
It might not make much since without the dialogue written for it. But the basic plot is that Emmons wants to see Space Samurai, and his girlfriend calls him (while he's asleep) that she made a date for them as it is their anniversary at the same time. He watches the film instead, but the film is canceled. His girlfriend calls and dumps him.
I like to note that his face doesn't turn red, it turns transparent and that the red couch only gives it that illusion. The reason for this is because the frames are not colored in.
The white sketches will be replace with a the clean drawings you see in the first part. And things can and will probably change from this. This is just a rough to help me with timing, and placing. That is the reason why some items disappear and reaper when needed.


text: Share FacebookTwitterPinterestLinkedinWhatsappTelegramEmail 421 If You Like This Article Kindly Give Us A Share! Ghana Celebrity Watch By Antoanette Sedinam Akoto-Tenu According to history, the cowry shell was one of the most successful and universal forms of currency in the world. It was one of the major resources in West Africa which were able to make its way into the cultural fiber arts, taking in a deeper symbolic and ritualistic meaning. The cowry shell had all the characteristics required of money. It was a symbol of wealth, prosperity, and fertility. It was indeed a valuable item and very significant in the transaction of businesses and the exchange of goods and services. More Articles You Would Love PICS: Sarkodie Is Now Ahead Of M.anifest & Other MCs When It Comes To Rocking Ghanaian Fashion #fGSTYLE: Here Is How To Make Any African Fashion Dress Style You Want; With Free Delivery Though some believe cowry shells have lost their value as compared to ancient days, it has become necessary to add it into fashionable items just to cement its relevance in today’s era. Cowry shells have a benedictive power to enhance the beauty that’s why currently cowries are used more often as ornamental beads such as incorporated into jewelry, worn in the hair, decorating statues, baskets among other uses. Though not everyone still values cowry ornaments, since there are modern ornaments that can be used to adorn ourselves, some who still hold their cultural integrity would not want to lose trait of that. They find ways and means to use cowries to adorn themselves either in their hair, around their neck, legs, wrist, ankle, fingers among other parts of their body. Currently, there are few designers who have taken it upon themselves to promote cowries. One of such creators is the Ivorian designer Lafalaise Dion mostly addressed as the Queen Of Cowry. Though she studied Journalism at the Institute of Science and Technology in Abidjan, Dion always aspired to be an influential designer someday. Dreams they say do come true as Dion has become one of the celebrated designers who has consistently been able to use pure cowries to fully design. LaFalaise Dion believes the only way to hold on the legacy left her ancestors and explore the richness and uniqueness in the African culture is to artistically create ornaments. She is best identified with creating headgears that mask the face and neckpieces made from cowries. https://www.instagram.com/p/CEwE9GyH1wC/ https://www.instagram.com/p/CEXn3gZH3fw/ https://www.instagram.com/p/CDzGfMon6xA/ https://www.instagram.com/p/CBL5qH2H1jY/ https://www.instagram.com/p/CA2-8qkn3sr/ UPCOMING TOP EVENTS! VIEW ALL EVENTSAFRICAS BIGGEST FASHION WEEK IS HERE!Click Here To Submit stories Email: [email protected] or HashTag #FashionGHANA Share FacebookTwitterPinterestLinkedinWhatsappTelegramEmail Abigail Oluwakemi I'm a fashion stylist turned blogger, I hope you love my work. More For You #OOTD: Tolu Bally Steps Out With A Jaw Dropping Boob handprint shirt x... #BIKINIBAE: South Africa’s Premium Swimwear Sensation Pamala Hughes Is Serving Ravishing Bikini Looks “Looks Like A Transgender” Africans Are Confused Over Brooke-Bruk Jackson’s Gender, The New... Get A Load Of The Top 15 Afrobeats Jams As Jyzno & Lasmid... 6 Essential Cautions When Sending Clothes To Style Influencers “We Created A Banger” Ghanaian Afrobeats Star Lasmid Pays Respect To Deceased Nigerian... Indulge In The Whimsical Elegance Of Ejiro Amos Tafiri’s SS23 ‘Ilé mi, Ilè... New Turtles Movie Subliminally Teaches Us To Beg White People For Acceptance 8 Days Left For Top Tier Designer Applications To Be Vetted For Accra... Naomi Campbell Ventures Beyond the Catwalk: A New Fashion Odyssey with Nigeria’s VicNate Leave a Comment Cancel ReplyYou must be logged in to post a comment. This site uses Akismet to reduce spam. Learn how your comment data is processed.


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In case you didn't know, or maybe never asked, celebrities make a lot of money. And thanks to Forbes' annual Celebrity 100 list, you can find out exactly how much money the entertainers you love, hate, or love to hate, make—as long as they're making over $28.5 million. (Again, they make a lot of money.) According to this year's list, the highest paid woman in entertainment is Katy Perry, who came in number three overall with a very casual $135 million. Which is convenient, because if you've ever been to Arkansas, you know that fireworks are pretty expensive.
The second highest-paid female on the list was Taylor Swift, who came in at number nine with $80 million. Beyoncé made the list at 29, with $54.5 million; Kim Kardashian at 33, with $52; and Jennifer Lawrence, who will make $8 million more than her upcoming male counterpart Chris Pratt in Passengers, at 34 with $52 million. All in all, the list was pretty male-dominated, with athletes at the top 10% of the list, which just goes to show how the gender pay gap affects everyone—even those who are, again, making a lot of money.


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Marianne Crebassa mezzo-soprano
Fazil Say piano
This promises to be a thrilling encounter between fiery Marianne Crebassa and category-defying Fazıl Say.
Ravel Vocalise-étude en forme de Habanera
Shéhérazade, 3 poems for mezzo-soprano and orchestra (version for voice and piano)
Debussy La Cathédrale engloutie et Minstrels, excerpts from Préludes, livre I
Fauré Cygne sur l’eau et Danseuse, excerpts from Mirages op. 113
Satie 3 Gnossiennes
Debussy 3 mélodies de Verlaine
Duparc Chanson triste, Au pays où se fait la guerre
Say Gezi Park 2, Sonata for piano op. 52
Gezi Park 3, ballade for mezzo-soprano, piano and string orchestra, 2014
(arrangement for mezzo-soprano and piano by Fazil Say)
The first impression left by Marianne Crebassa’s voice is of a unique colour of timbre which is deep, imperious yet soothing. When Fazıl Say heard her voice he instantly fell in love with it. The indomitable musician took to the keyboard just for her and made a recording. They have taken an impressionist anthology and transformed it into ice sculpture of the most unusual and dazzling design! Beneath the fingers of Fazıl Say, Ravel, Debussy, Fauré, and Duparc reveal all of the tangible, feather-light and ethereal qualities behind their notes. This level of personal commitment to filling the gaps in the sound creates music which is almost more tactile than acoustic, hence the instant shiver down the back of the neck which it produces. These subtly interwoven lines will linger for a long time on the stage at the Théâtre des Champs-Elysées, as well as in the memory of audience members fortunate enough to have heard them.
Coproduction Les Grandes Voix / Jeanine Roze Production


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January 19th, 2011
06:53 PM ET
Anderson Cooper is about to make his Broadway debut.
The "Anderson Cooper 360" host has joined the 50th anniversary revival of the musical "How to Succeed in Business Without Really Trying" as the pre-recorded voice of the narrator, reports Playbill.
News legend Walter Cronkite provided the voice for the 1995 revival, which starred Matthew Broderick. "Harry Potter" actor Daniel Radcliffe headlines the Cooper production, which begins performances at New York's Al Hirschfeld Theatre on February 26.
Meanwhile, Melissa Etheridge is set to rock the Green Day musical "American Idiot" at Broadway's St. James Theatre. The singer will join the cast for one week as St. Jimmy, a ghostly apparition who helps fuel lead character Johnny's drug addiction. Etheridge will step into the role from February 1 – 6, while Green Day frontman Billie Joe Armstrong takes a vacation from the show.
“Billie Joe and I always believed that it would be incredible to have a woman take on the role of St. Jimmy," the show's director, Michael Mayer, said in a statement. "This character is seductive, thrilling and dangerous. Melissa Etheridge is all that and so much more. She's a rock icon and we couldn't be more thrilled that she's bringing her immense talent to 'American Idiot.'"
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« AnteriorContinuar »
SIN WITHOUT EXCUSE.
ROMANS VII. 15.
For that which I do, I allow not: for what I
would, that do I not; but what I hate, that do I.
WHETHER the holy Apostle says this SERM. of himself, as some have fancied, or only III. by a figure of speech, as most others suppose, assumes the character he is representing, to soften the reproof, it would, I fear, be vain to look for such perfection among the sons of men at present, as should render the terms of the accusation inapplicable, even to the generality of Christians; and, therefore, to ourselves among the rest. Though there might seem to be much merit in such a confession, as arguing a just sense of one's own infirmities, yet no confession could more
SERM. strongly set forth the alarming nature of
man's weakness. It is a confession, indeed, which so far from pleading any excuse for our transgressions, greatly aggravates our failures. In exposing our weakness, we acknowledge our strength; we do not pre. tend to say we were compelled to submit, but that we have yielded unnecessarily, and even with great baseness and ignominy thrown down our arms.
And yet it is to be feared that no more suitable form of confession could be devised for any of us: we have none of us surely been so compelled to yield to temptations, as to be able to plead a perfect inability, to have done, or to have judged better; as Christians undoubtedly, if we would presume to call ourselves such, this nevercan have been the case ; for in addition to the law written in our hearts, and urged upon us by our conscience, and besides the written laws of God promulgated in the Holy Scripture, we have a promise of the aid and co-opes ration of the spirit of God himself, to strengthen and uphold us, if we do but shew ourselves disposed to resist as we
should do. It is not then to be doubted SERM. but that all our sins and wickednesses carry with them this heavy aggravation, that we are always sufficiently instructed not to approve them in our hearts. That what we do, in opposition to God's laws, we dare not pretend to justify; we dare not presume to say
that even our freedom as moral beings, or our condition as rational creatures, allows of it ; for while the flesh is rebellious, a will is nevertheless always present to us by the very laws of our nature, pointing to what is good; so that even the Gentiles had a law, and an internal monitor and witness in their own consciences, that tacitly served to accuse or excuse all the motions of their hearts.
But we Christians, as it has been already observed, have much more to depend on, and be governed by. We are fenced round and fortified by all that can give security against attack, or encouragement under resistance. We have no surprize to apprehend; for we are forewarned, and put sufficiently on our guard. The enemy is not hidden from our view'; we may see him at
SERM. a distance; snares and ambush will not III. avail him, unless we voluntarily become his prey. Even no advantage can be gained over us, by excess of strength or numbers; the faithful and steady Christian need not be afraid, though a host of enemies should encamp against him; with " bis loins girt "with truth, and having on the breast-plate of righteousness, and his feet shod with the preparation of the gospel of peace;" with "bis "shield of faith, and his helmet of salvation;" and, above all, "the sword of the spirit, "which is the word of God;" he may stand fast in the darkest day of trial and temptation, and resist all the attacks of this wicked world, his own sinful flesh, and the wiles of the devil. Such is the security provided by the eternal God for the soul of man. The terms are figurative, but the fact is plain and intelligible; if God be for us, who can be against us? or what temptation or stratagem can prevail against us ? "Yet with all these means of defence at command, we give way at the first summons often, and go over to the enemy for the rest of our lives: but God is not to be mocked.


PREACH, SIR CHARLES!
This entire episode was great so I am posting it here before I get into the blog
I don't think I have the instant guttural, reactionary, hatred for Gary Bettman the way most fans do. I think he has unique challenges as a commissioner. I do think that since he has been the ONLY commissioner in the NHL's history and the league has perpetually had the same struggles for his entire tenure that it might be time for some fresh eyes and new ideas on how to grow the game.
The game has never been faster or more skilled than it is right now. Kids come into the league every year and try things never before seen in the NHL. That is a great thing. The access to games via streaming is a good thing. The biggest problem the NHL has is marketing. The NHL needs to come up with new ways to make people care. To get people emotionally invested. It feels like they are lagging WAY behind the other major sports leagues and I don't want the same tired excuses of how the game doesn't translate to TV or that the players are too buttoned up. HD has eradicated the TV argument and Spittin Chiclets has proven without a shadow of a doubt that if you make interviews fun and compelling the players open up and show their hilarious and relatable personalities. They become guys you want to watch and root for after seeing them on Chiclets. The league has never been able to do that on their own.
I am glad the NHL Network exists, but absolutely SUCKS compared to the NFL Network and the biggest area where they falter is original programming. "A Football Life" and "America's Game" are incredibly well-produced storytelling shows. Welcome To The NFL. Hard Knocks. The NFL absolutely kills it when it comes to storytelling. The NHL had one great show "HBO 24/7: Road To The Winter Classic" and they killed it what feels like a decade ago now. The studio shows on NHL Network don't come anywhere near the quality of the NFL shows. That segment of Whit and Biz talking about the future of the Leafs and what to do with their core four guys would've been the best 20 mins or so ever to grace the airwaves of NHL Network. There is seemingly no debate shows. No in-depth passionate discuss. Its quick hitters and highlights and then the NHL Network runs that show all day. They have to do better with how they talk about their own product. If your own network can't get excited about the league in a way that comes through on TV (and this goes for the ESPN broadcasts as well) then how can they expect any fans to get excited?
And Charles is absolutely right about how the NHL markets their stars. How many Americans would know the sound of Connor McDavid's voice? What about Auston Matthews? Now how about Lebron James? How about Joel Embiid's? I bet fucking Deuce Tatum is more recognizable at this point than Jack Eichel or Barkov to a random person on the street. Who's fault is that?
I am not going to even talk about how ESPN/NHL fumbled Game 7 of Oilers-Knights and the Draft Lottery. That's been beaten to death, but very indicative of a larger problem.
And...not to sound like a meatball...but fighting in the NHL is awesome. It just is. I don't want to bring back the broad street bullies or players like John Scott, but combat sports are insanely popular. People like violence. It could and should be a differentiator for the NHL, but the league runs away from it. Why? Players want it. 95% of fans LOVE it. If you watched that Matthews-Stamkos scrap amongst the chaos in the first round of the playoffs and didn't get goosebumps that means you're dead inside. When people my age talk about their favorite memories as a hockey fan it usually involves the Wings-Avs blood feud from 1996-2002. That was raw, organic, pure hatred that has in many ways been legislated out of today's game. I want more fighting and if that is wrong then I don't want to be right.
We talked about how the NHL is marketed on the Redline segment of the Mid Show today. You'll be able to find it on youtube at 2pm CST. We had on Steve Wilkos and Dante The Don and WSD is having a kid


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The free virtual festival gives those with life-limiting and chronic illnesses the chance to enjoy an evening of live-streamed festival of music and dance.
Daring to Dream, the charity that supports the emotional health and wellbeing of patients in Wales, will be holding a virtual festival that allows those with life-limiting and chronic illnesses and their family and friends to enjoy a live-streamed night of music and dance.
Nearly half of all adults (approximately 1.2 million people) in Wales are estimated to be living with a long-standing, physical illness. Of those, the lives of more than half (approximately 800,000) are somewhat or severely limited by their illness.
Daring to Dream’s mission is to extend support for patients’ emotional health and wellbeing, complementing clinical care so they can recover or live as well as possible with ongoing conditions.
The free festival, which will be held on the evening of Friday, February 17, will be hosted by broadcasters Sian Lloyd and Jason Harrold. It will bring together a string of talented artists for a fun-filled evening with music and dance performances.
The line-up for the evening features:
- Hear Our Voices band
- Afro Cluster
- Ify Iwobi
- Soul Lotta Fun
- Sinfonia Cymru
- Alli Gemini
- Emilie Parry-Williams and Thomas Mottershead
- Welsh Ballroom Community
Lleswyl also showcases:
- Tenovus Cancer Choir
- Forget-Me-Not Chorus
- ICU Liberty Singers
Daring to Dream has established the wellbeing festival to raise awareness of the need to nurture patients’ emotional health during difficult times. Lleswyl (meaning ‘wellbeing festival’ in Welsh) will give those who cannot attend festivals and events in person due to illness, disability or financial disadvantage the chance to enjoy a jam-packed programme of performances from the comfort of their own home, hospital bed, supported living community or care home.
The charity’s founder, Barbara Chidgey, is encouraging people to hold a Llewsyl ‘get-together party’ with family and friends and neighbours.
She said “Supporting the emotional health and wellbeing of people living with longstanding physical illness is a huge, under-served and under-represented inclusion agenda. Daring to Dream’s role is of significant importance in supporting ‘living well with illness’.”
“Lleswyl 2023 is about helping those living with physical illness to be included in social gatherings. Long term illness really does lead to more and more social isolation. With nearly 50% of adults in Wales already living with a long-standing illness, you will certainly have people in your own families and networks who are affected by this.
“We are encouraging people to get together on 17 February as the festival takes place, invite people that you know who are living with chronic illness and share a fun evening together of food, music, and happiness. As long as you have access to the internet, it can be enjoyed by everyone, anywhere. And it is free!”
Daring to Dream patron Neil Hopper, a Swansea-born vascular surgeon, underwent bilateral below-knee amputations after contracting sepsis in 2019 and knows only too well the emotional impact having a serious physical illness can have on emotional health and wellbeing.
He said: “Losing my legs was horrendous, but it wasn’t the worst part of what happened to me. The change in my personal circumstance, my place in society suddenly changed, my interaction with other people changed, the thought of getting my head around being disabled. All of this was the stuff that I found more difficult to deal with than having to deal with than the physical change of having plastic legs instead of proper legs.
“It’s been a proper journey and that’s the part that people don’t think about and sometimes what matters most.”
You can get free tickets for the event here https://lleswyl2023.eventbrite.co.uk
For more information, contact Kathryn Chadwick at Front Door Communications on email@example.com


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By Anjali Shrestha
AHS (America Horror Story) make-up has inspired millions of make-up artists around the world, and many of them learn the trick of the skills by teaching all by themselves. One among those is Diksha Thapa, a graduate from Shrijana College of Fine Arts who taught herself the skills required for AHS make-up after being inspired by the works of Brooke Shaden, a fine arts photographer from the US.
Check out her latest works.
Recreation of Kimberly Margarita’s Art. This is the artist’s personal favourite or perhaps as something she ’d like to define herself.
The artist’s take on the look by Antonia Glaskova. She tried portraying her vision of death with this look.
Fascinated by the mermaid, a mythical creature, the artist turned herself into one.
Inspired by the looks of Roma fortune tellers, with a Halloween touch to it.
- Photographers: Rujal Pradhan, Labesh Shrestha, Nibhal Bajracharya, and Prasanna Bijukchhe.
- Editors: Rujal Pradhan, Nagesh Kandel, and Prasanna Bijukchhe
- Setup/Assistance: Rubin Pradhan and Pritam Shakya.


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Netherlands 2024: Joost Klein introduces us to 'Europapa'29 February 2024 at 16:55 CET
The artist Joost Klein is inviting us into his wonderful world via the release of the official music video for his song Europapa.
The turbo-charged tune will serve as the Dutch entry to the Eurovision Song Contest in May, and takes listeners on a nostalgic three-minute trip that's worth strapping in for.
Europapa is a tribute to Joost's father. Through the song, the artist informs the listener that there are no limits if you want to make your dreams come true and tell your story. The tune is a madcap mix of melancholy and happiness, delivered with the poetic lyrics and catchy beats for which Joost has become renowned.
According to Joost himself:
"'Europapa' is about an orphan who travels throughout Europe (and beyond) to find himself and tell his story. At first, people don't recognise him, but he goes on seizing any opportunity he gets to let himself be seen. 'Europapa' is a tribute to my father. When bringing me up, he passed on to me an expansive view of the world"
Europapa is produced by Teun de Kruif (Tantu Beats), with a special contribution from DJ Paul Elstak, one of the founders of happy hardcore and the man behind the mega-hit Rainbow in the Sky. Joost wrote the lyrics himself with input from his good friends Donnie and Tim Haars.
Joost is already looking forward to his experience at the Eurovision Song Contest in May:
"The Eurovision performance will be a full-circle experience, turning sorrow into elation. When people see my act, their first response should be: "What's going on here?", but then only to find themselves moved. An invitation to dive deeper. At first glance it seems a very happy act, but beyond that lie blood, sweat and tears."
At the Eurovision Song Contest in May, the Netherlands will perform in the Second Half of the Second Semi-Final.
You can learn more about Joost Klein right here:
The Eurovision Song Contest will take place in Malmö, Sweden on Tuesday 7 May (First Semi-Final), Thursday 9 May (Second Semi-Final) and Saturday 11 May (Grand Final) 2024.