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✪ Personal Life ✪
Honestly, my personal life is just waiting for Dragon Age: Inquisition. I have not been "here" since I preordered that game, so…there is that.
✪ Art & Writing ✪
Not much writing or drawing. I did start on a story for NaNoWriMo, but I doubt I will get it done in time. Especially with DA:I coming out in less than ten days. More than likely, I'll keep working on the story because I am really enjoying it. It's about a girl who is desperate for a job, and ends up accepting an assistant position for a supervillain. She knows that the supervillain is a horrible person, but the pay is amazing and she gets a lot of cool yet weird perks…like minions to clean her house and stuff. I have never really tackled a comedy story before, so it's fun. TBH it feels more like a manga. I think I will start drawing it pretty soon. Of course, I am always working on
Mythos The Millennium Sorceress, so that's all good. All is good in the creative world~
✪ Anime & Manga ✪
- …What the fuck is Terraformars? Mark and I were in tears over the jacked cockroaches, but we eventually decided to just overlook the overabundance of muscles in this anime and get into the story. Then came the censorship. It might be Crunchyroll, but every time a gruesome death happens this black bar blocks out everything. So that pissed us off. We are interested in the story. That is the aggravating thing. We just cannot stop laughing at the things we consider ridiculous, and then the fucking black bars on everything. *sigh* The shit I put up with to follow a plot. It really makes no sense sometimes.
- I'm really getting into Wolf Girl and Black Prince. I know Erika and Sata are going to inevitably end up together, but Kusakabe is so adorable. If given the option between someone mean like Sata, and a sweetheart like Kusakabe then I would choose the latter. That might make me "boring" but oh well.
- I finished the Aku no Hana anime and decided to move on the manga to see what happened after that ending. Yeah…I thought Takao and Sawa were messed up, but nope. Saeki is slowly taking that cake.
- Because Mark won't stop bugging me about it I am reading All You Need Is Kill. It better be as flawless and amazing as he claims. -_-
✪ Video Games ✪
- After I trade in my 3DS they announce the Majora's Mask 3D game. *internal screaming* I'm kidding. It's cool since (a) Mark still has his 3DS, (b) Majora's Mask won't get here until Spring 2015, (c) I got Mark a copy of Fantasy Life with the trade-in credit (He is 1000% in love with that game BTW. I never stop hearing about it. LOL), and (d) I got to preorder the ultimate Dragon Age: Inquisition with the rest. Speaking of DA:I…
- HOLY FUCK I'M EXCITED. I honestly did not think I would be able to play it until next year because…well…I just rarely have the funds to buy games on the first day. Or I do have the funds but my frugality makes it impossible for me to enjoy the game without guilt because it is over $20. Either way, I did not foresee myself getting DA:I on the first day, better yet the ultimate edition with all the preorder goodies. Sometimes I see the 18th on the calender and I have to remind myself that there is a copy at Gamestop actually waiting there for me. Maybe to play at midnight. I don't know. The last time I went to a midnight release was for Final Fantasy XIII, so it has been a while. Man…less than ten days. If I could just fast forward time that would be great.
✪ Books ✪
- What I love about Haruki Murakami is how gradually he includes supernatural elements into his stories, as if they have always been there and the reader is just learning about it through someone else's story. In other words he has a talent for seamlessly including the supernatural into everyday normal life without it coming off as an obvious fantasy story. That is something I can kind of relate to. Growing up, I believed a bunch of weird things like aliens living amongst us and turning into their true forms the moment I turned my back. Because of that I used to carry around compact mirrors as a kid in hopes of catching one of them mid-transformation. I also used to believe what Aomame believes about crossing dimensions unknowingly, and like her that assumption was triggered when I did not know something that everyone else around me considered common knowledge. I…was a weird kid. Scratch that, I am still weird. Knowing all of that, it is nice to find the works of authors who use their weirdness to create beautiful stories. It has a purpose outside of constant ostracization and being badgered with questions about my thinking process! LOL
- The World of Ice and Fire is greaaaat~ I am only borrowing it right now, but I would love to buy it, take my time examining all the beautiful art, and reading every little detail about GRRM's world. It is inspiring. My imagination has been a little lifeless lately, but it grows vivid the moment I am introduced to someone else's imagination. The mind is a beautiful thing. I must never let it go to waste. That is something I am learning each time I experience the joy of reading another person's story.
✪ Music ✪
- Find Drag-on Dragoon 3 DLC OST. Add "Chaotic Song", "Better End", "Tsukiru/Exhausted", "This Silence is Mine", and "Kuroi Uta/Black Song" to my queue. Put that shit on repeat for the rest of my life. That has pretty much been my music activity. The originals are great on their own (Well, Chaotic Song was originally Thirteenth Chapter Final in Drag-on Dragoon 1, and it was just a bunch of bells…but it is unique. I don't mind listening to it), but to hear them reprised into battle themes is just god tier shit.
- I really love Pogo's remixes. "Psycho Soup" is great, and gives me hope that he will remix more video games in the future. Maybe anime too. Who knows? He always surprises me with his songs. My favorite remix is still "Hundred Acre Rain" though. Instant picker upper.
✪ TV & Movies ✪
- Maleficent – Eh… It was okay. I am liking this new Disney trend of princesses being rescued by someone other than a prince though. I love princesses like Mulan and Tiana who save themselves, but a princess being rescued by a family member or villain is a fresh angle too.
- The Edge of Tomorrow – Not bad at all. Since Mark insists the story/manga is better I will read that.
- WWE – I'm playing catch up right now. I'm also crossing my fingers and hoping that the authority crumbles.
- South Park – I'm not sure what is happening, but I barely laughed in recent episodes. This happens sometimes. The creators of SP try so hard to express their opinion on political issues that they kind of overlook the comedy aspect. Oh well…
- ANTM – It's getting to a point where I don't want anyone to get eliminated because I like them all. Raelia leaving just sucked, man. She should definitely keep modeling no matter what.
I'm sure I watched other things, but I can't remember them all right now.
✪ Whatever Else/Closing ✪
Before I go, I'd like to remind all the people who like to command strangers to watch their shit while they use the bathroom to beware of individuals like me. Because we will laugh, walk away, and leave your shit sitting there. Or if you meet someone like my past co-worker, he will straight up toss your shit in the trash. Lesson: pretend that your parents raised you properly. It takes a few seconds to say, "Hey, I'm sorry to bother you, but can you watch my drink while I take a piss?" Most of the time, someone will say: "Sure," and be glad to help someone out. But if you just go to a stranger and bark: "Watch my drink!" (which happened to me) then…yeah. Your drink is going to get abandoned, and if someone cleaning up asks me if the drink is mine I'm just going to say nope. Then you can spend another $3 at Burger King getting a large drink because you had to be a dick and order around people who have no obligation to obey you. Whomp whomp.
Aaand I'm off. I got some mangas to catch up on.


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Top - c/o Anything Goes Apparel / Leggings - c/o The Hut / Shoes - Primark
Everyone loves a fun statement top, and this number by Anything Goes Apparel is just perfect. A mixture of fun yet fashion makes this top so wearable and right on trend. I've pretty much lived in this top since I received it, I love finding clothes that you can just chuck on with not much effort yet still gives you a fashionable day time look. I teamed the top with these navy disco pant style leggings. I was unsure weather legging disco pants would work for me as I'm completely addicted to my American Apparel pants, but these leggings from The Hut make a perfect comfy alternative and I'm absolutely loving the navy.
I want to apologise for being a bit of a rubbish blogger, since finishing uni I've been hectic with starting my internship, catching up with friends and sorting out my holiday. I hate not blogging but it's kind of taken a back seat...as soon as I return from holiday I'm going to get my arse in gear and back on the regular posts.
I hope you lovelies are all well x

subset: commoncrawl


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Looking for: Female 18-99
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About me
I'am college Level with a concentrations of Aviation Science and technology. I stop learning in my college because of some those Diffeculties of Fenancial support. I live with my parent's Small farm house in Tomikawa,San Isidro,Padada,Davao Del sur. Philippines in Region XI. Has of now i'm still single person within 26 yrs since i was in Elementary School until i got to College Degree. I'll never to find right match with because i'm too busy and patient to my life being a 26 yrs of broken hearted person. In for the decade of my life 26 yrs of Single, I Move on of all that Matter. As a matter of Fact, I'm free to meet people in my life as going to be marry him someday and am really open a relationship to all who touches my life.
About you
Simple Christian person,Farmers,Good Communications skills,good humanitarian skills,Understanding,Fun and loving person,Have Effort in life,Have Principle in Life,God Fearing person,Sports lover,Adventurous Person,I love Travel in any part of foreign countries,Love and caring person,Have Wisdom,I love outing with my parent's and friends,Supporting person,Kind and Respectful person,Have Patient in life,Charismatic person, I love Entrepreneurship Business like Super Stores food and Beverage, I love watching TV and Movies.
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This forum is plagued by spam. This has been going on for quite some time.
The software that this is built on (phpBB) has a plugin called "reCaptcha 2.0". I suggest to try this plugin to offset some of the hijacking.
Forum to discuss your use of Chamilo, the features you like and the things you don't like
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I currently have a serial TC-08 and I would like to by another.
1.) Will 2 serial versions run on the same software
2.) Will a USB run on the same software as the serial or will I have to have 2 applications open at once
Users browsing this forum: No registered users and 0 guests


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Fall Session 1 classes begin August 13 Apply Today!
Call Now 1.888.684.5335 or Email Us
Southwestern College became the first four-year Kansas educational institution to offer degrees integrating the Naval Postgraduate School in 2014. The partnership is part of the Naval Postgraduate School (NPS) Center for Home University & Agency Partnership Initiative (UAPI), which brings together institutions dedicated to advancing homeland security education.
The initiative's objectives are to strengthen the nation's security, prevent redundant curriculum development and associated costs, facilitate nationwide collaboration among educational institutions as they develop or expand their homeland security programs and create synergy to address critical national security and defense research issues.
Southwestern College Professional Studiess currently offers two degrees with the curriculum: B.S. in Security Management and M.S. in Security Administration.


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At their debut in the early part of the last century, the Fisk and Crawford coal plants were hailed as electrical marvels that propelled Chicago's growth.
When their boilers were shut down last week, they ended as symbols of coal's toxic legacy, blamed for crippling diseases and environmental destruction.
The plants' last gasps bookend one of the most contentious battles in Chicago history, one that pitted neighbor against neighbor in Pilsen and Little Village, the largely Latino neighborhoods where the coal-fired electric generators are located. A well-funded environmental lobby pushed to close the plants and raised the profile of the battle. For community organizers, the plants also illustrated environmental racism.


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|Bulk SMS is a cost-effective marketing and notification solution. If you are seeking digital marketing solution to maximize business opportunities, acquire and retain customers, Netcom Zimbabwe's bulk sms messaging services is the right solution for you.
Our reliable services enables you to send Short Messaging Solution (SMS) to hundreds of thousands of your customers, members and other individuals with the touch of a button. With our custom interface, you can set Custom Sender IDs and schedule messages to be sent at a preset time and date.
Our user friendly web interface is a intuitive and easy to use solution, ideal for mobile maketing and business sms communications. There is no application software to download and install. As a web based platform so all you need to get started is a web browser and internet access.
Our browser client is a powerful system capable of sending to one or a hundred thousand mobile numbers from a single send. Its ease of use allows you to send to hundreds or thousands of recipients in a matter of minutes.
Extend the power of SMS to your desktop with the Bulk SMS Text Messenger. The BulkSMS Text Messenger is a software programme that allows you to send SMS text messages from the desktop of your computer.
The Bulk SMS Desktop Client has the familiar look and feel of an e-mail client and is quick to install, easy to use, and readily available on your desktop.
Connect your software our website to our sms gateway. Our HTTP API is intended to be used by programmers and developers who wish to connect their platforms to our gateway through HTTP connectivity.
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Lionel Messi Wins Ballon d'Or, Continues Building His LegendJanuary 7, 2013
The apotheosis of Lionel Messi is complete. No longer merely a footballer, Messi is now a living legend at 25, an icon on his way to becoming a deity among the sport's pantheon of greats.
Sorry, Cristiano. The polka-dotted La Pulga plays in a class of his own.
Long regarded as a master of the modern game, Messi now has become much more than that. On Monday, in a FIFA ceremony in Zurich, Switzerland, Messi won his fourth straight Ballon d'Or, the award handed out annually to the world's best footballer.
No player had ever won four straight, and none will likely do it again. What we are now witnessing, in fact, is history in the making, the source material of future legend.
And yet, the legend himself could hardly be more unassuming.
Typically for Messi, he accepted his latest accolade with a sheepish, almost embarrassed aura. One could almost imagine him wondering what all the fuss is about. At one point during his acceptance speech, he even apologized for being "so nervous."
Fine. Let him be humble. Those of us watching on will continue the search for the words worthy of his genius.
Even for a player of Messi's credentials, 2012 was a vintage year, even if he would tell you otherwise. Messi set a FIFA world record for goals in a calendar year with 91 in all competitions, as well as for most goals in a European season (73) and most goals in a La Liga season (50).
With a hat-trick on March 20, Messi became FC Barcelona's all-time leading scorer at the age of just 24. Cesar Rodriguez set the old mark at 232 over two decades, the 1940s and '50s. Messi did most of the damage over four glorious seasons from 2008-09 until 2011-12.
Not only that—he has made it look easy. Nicknamed "the Flea," Messi combines an almost superhuman reading of the game, a lethal left foot and an uncommonly deft touch that seems to sprinkle the ball with magic dust every time he touches it.
Defenders are often powerless against him, and onlookers often find the appropriate level of praise elusive.
As the clock counted down to his inevitable fourth Ballon d'Or, Messi received accolades from prominent figures across the globe. The tributes ranged from veneration to deification to something else entirely.
"You cannot compare anyone to Messi," said Alfio Basile, the former Argentine international and club manager (via FIFA.com). "Cristiano Ronaldo is a great human footballer, but Messi is a Martian. He can run even faster with the ball than he can without it.
"It's as if he's playing another sport."
Samuel Eto'o, a former teammate of Messi's at Barcelona, took that sentiment even further.
"Messi is a god—as a person and even more so as a player," he said. "I hope that he wins the World Cup with Argentina. To the gods of the world, all I ask is that you give him that chance."
At the rate Messi is going, few would bet against that. Not even the powers that be. According to Messi, 2012 wasn't even his best year (via ESPN FC). The implication, taken to its logical conclusion, is astounding.
On Monday, we witnessed another act in the individual drama that one day will define the current era of football. For that we should feel fortunate.
For what comes next, we, the fervent faithful of the Church of the Flea, simply cannot stop watching.


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Posted by Rob, Wednesday, November 5, 2008 10:15 AM
Last time I was in the back of the Clem-350 with Derewenko four years ago, I remember some serious tension between some grown ass men acting like, well, some grown ass bitchy women. The Clem-350 is again full of grown ass men including Derewenko on their way to Make-A-Wish where I am bowing out to skip an event for a change. Good luck everyone. I was nothing but a worthless pile there anyway. Thanks for doing one of my jobs, Derewenko. Toss a case for me.
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Mar 11, 2014 at 4:29 pm
ST. CLOUD, Minn. (KNSI) - The Vikings have jumped into the free agency party on the first day, and it comes at a position of need.
Twenty-five year old defensive tackle Linval Joseph agreed to a contract with the Vikings. The massive Joseph, 6'4 and 323 pounds, will slide right into the defensive tackle spot next to 2013 first round pick Sharrif Floyd. His contract is reported to be five years and 31.5 million.
Joseph had 46 starts in the past three seasons and was a key cog in the middle for the Giants. He has averaged 55 tackles a season and has 9 sacks in his career. With Kevin Williams, Fred Evans and Letroy Guion free agents, the Vikings needed to address the middle of the defensive line.
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While "out of the box" solutions get a lot of attention, we believe it's what happens on the inside that matters most. That's why we've spent the last 50 years focused squarely on improving the exam room itself with better equipment, smarter workflows and more integrated technology.
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Chelsea boss Roberto di Matteo admits their Champions League defence hangs by a thread after defeat to Shakhtar Donetsk.
The European champions crashed to a 2-1 defeat to Shakhtar on Tuesday evening as John Terry's return to the side went awry at the Donbass Arena to leave them facing a real fight to qualify for the knockout stage.
"We need to win our two home games remaining for sure," the Blues boss said.
"The consolation tonight is that Juventus drew in Denmark.
"It just shows how the Champions League is a very competitive competition.
"But certainly, we need to win our home game against Shakhtar."


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VIDEOS: Watch Gawker's Source Go Off On Conspiracy Theories
Leif Derek Truitt a.k.a. Brodie Sinclair (gay pornstar) is the source behind Gawker's hoax story that Conde Nast CFO David Geithner solicited gay sex. Here he is weighing in on some other absolutely crazy stories. Here's to you really screwing up the story, Nick.Read Story


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Hawaii sues BMS, Sanofi over Plavix
Hawaii's Attorney General David Louie is suing Bristol-Myers Squibb and Sanofi. MedicalXPress reports that the AG did not share that the blood thinner Plavix may have a different impact—or no impact at all—on stroke or heart-attack risks among patients with East Asian or Pacific Islander heritage.
MedicalXpress notes that Sanofi announced last year that the Department of Justice was investigating the information that the company shared with the Food and Drug Administration during the approval process.


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Rikon Drill Press Mortising Kit
Turn your drill press into a mortising machine in minutes with this complete hollow-chisel mortising set-up that cuts clean, accurate, square-cornered through or blind mortises. Includes chisel holder yoke, fence,
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work against the fence. 1/4" & 5/16" chisels cut to 2" maximum depth; 3/8" and 1/2" chisels to 3" maximum. The chisel yoke clamps onto the quill of the drill press and fits onto most
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Notice to residents of California: Please read our Proposition 65 warning.


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With September around the corner, new trends are starting to pop-up as the summer draws to an end. Outfit inspiration may come in the least expected ways, one of which being Back To School Chic. Even if you've already graduated, there is a classic-cool look about preppy get ups and shiny loafers. You can mix and match different items from your wardrobe to create a school-inspired ensemble. A plaid dress with short-heeled loafers can instantly prep-up your look. Add smart accessories like round-frame glasses, over the knee socks, and a sleek iPad case to complete the look. Click through our picks to get the look:
1. Oliver Peoples 'Tokyo' Glasses ($550)
2. Marc by Marc Jacobs Gem Slice Stud Earrings ($42)
3. ID-Infinite iPad Sleeve with Monogram ($64)
4. Étoile Isabel Marant Thalia Check Dress ($435)
5. Caran d'Ache Goldbar Metallic Ballpoint Pen ($46)
6. NARS Velvet Matte Lip Pencil in Walkyrie ($25)
7. Missoni Shimmer Stripe Thigh High Socks ($85)
8. Essie Nail Polish in Blushing Bride ($8)
9. Stella McCartney Corrine Tortoise Heel Loafers ($704)
Danielle Idan
Photo Courtesy of: Vogue.com
Click here for more trends to try: A Cut Above, Instant Outfit: Lace-Slip Dress, Shoe Report: Cut Out Boots.


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Unlike many brands who choose to either sit on the scientific or 'organic' side of the fence, MeruMaya integrates clinically tested active ingredients and natural resources to ensure their products offer the best of everything. There's no need for their components to tell a story, or fit within a marketing brief - they simply want to make great skin attainable for all. MeruMaya also respects the fact that adult acne and skin allergies are increasingly prominent; they pride themselves on using ingredients that will not exacerbate blemish prone skins, integrated with spot reducing ingredients which will not undermine anti-ageing efforts either.
The range includes all the skincare products you need for a thorough routine: face wash, cleansing balm, skin peel, radiance mask, serum, eye cream and moisturisers. Basically, they're one of the best brands I've discovered in ages - and they're not even spectacularly pricey! Prices start at £12.50 and go up to £34.50, making the range extremely affordable. There's nothing worse than finding a brand you love, but discovering you can't justify their price points more than a couple of times a year. I've been using a few MeruMaya products over the past couple of weeks and have been pleasantly surprised with how effective they are.
The Melting Cleansing Balm has been formulated to remove makeup and impurities in the most efficient and effective way possible, whilst being extremely practical to use. Unlike most other balms which are packaged in tubs and require the 'finger dipping' motion that wastes product and often causes a mess, the MeruMaya version is in a tube and doesn't require any massaging motion between the hands to heat up the balm and ensure it's creamy enough to use. Their cleansing balm minimises wastage, is more hygenic and is super quick to use - you can apply a small blob to your hands and instantly massage into skin to lift away makeup in seconds. It leaves skin feeling cleansed and refreshed, with no tightness or dryness. Containing sweet almond oil, it's extremely pleasant to use and is light enough for the daily 'double cleanse' which can ensure a deep-down clean.
The Iconic Youth Serum has integrated itself seamlessly into my routine, working well beneath my moisturiser and makeup without leaving a heavy base to cover. Avoiding getting too complicated and scientific, the serum includes an exclusive complex of 10 active ingredients at maximum concentration (to ensure they deliver the promises they make,) to help skin appear youthfully vibrant and radiant. It's non-greasy and absorbs into the skin quickly to leave it instantly plumped, while it gets to work over a number of weeks to target deeper issues. I've avoided using serums and oils for so long because they just didn't work with my routine, but this provides the treatment I need in a format that works for me.
MeruMaya isn't just about skincare products though, as their new Skin Brilliance Supplements prove. Taken twice a day with food, the supplements are clinically proven to improve moisture, elasticity, radiance and collagen, whilst reducing lines and wrinkles after a six week period. I've seen the scientific studies and the evidence proves these really do work, but they have to be taken twice daily over a 45 day period before serious results can be seen. I've been taking these for a couple of weeks and I'm confident that my skin will look even more luminous in the next month! Whereas a lot of skincare specialists charge a fortune for their supplements, these are only £34.95 for 90 capsules - considering the level of active ingredients, this really is a great investment for your skin.
MeruMaya is a seriously effective range of products that is totally affordable too. It's been praised by beauty editors in the know, as well as my very own Mother Skin: Caroline Hirons. I love the fact that it combines the goodness of nature with science and all the money has gone into the ingredients, not fancy packaging. This isn't a brand that you'll necessarily showcase on your bathroom shelf, but it is a brand you'll share with your friends when they ask what your secret its.
The MeryMaya products start at £12.50 and increase to £34.50. They're available from John Lewis and via their own website.


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Exhibition 'Rubens and his Legacy. Van Dyck to Cézanne'
The exhibition Rubens and his Legacy. Van Dyck to Cézanne looks at the impact of Rubens on the art of painting. The show is co-curated by the Rubens specialist and curator of the Royal Museum of Fine Arts in Antwerp (KMSKA) Nico Van Hout. In 2014 the show was on view at BOZAR (Centre for Fine Arts) in Brussels, it now opens at the Royal Academy of Arts in London.
Peter Paul Rubens was one of the most innovative painters in the history of art. His impact on subsequent generations has been immense. The KMSKA, the Royal Academy of Arts in London and BOZAR Brussels have joined forces to look at Rubens as a role model. The Rubens and His Legacy exhibition brings together over 160 works, including some iconic paintings by Rubens himself and works by his artistic heirs.
It is a paradox that Peter Paul Rubens (1577-1640) is both inimitable and has served, for four centuries now, as the great model for painters such as Rembrandt, Murillo, Watteau, Fragonard, Gainsborough, Reynolds, Delacroix, Cézanne, Renoir, Kokoschka, and many others, often far beyond the frontiers of Europe. Even in the work of Picasso, we encounter his visual language.
Many Rubens works are sensational: loud, forceful, and sometimes violent, created in the service of Catholic propaganda and of absolutist rulers. With his almost cinematographic depiction of aggression, fighting, and barbaric scenes, Rubens could be called the Quentin Tarantino of his time. But he is also a sensual painter in his informal family portraits, landscapes and pastoral scenes, peasant dances and gardens of love, in which he was a precursor of rococo, Romanticism, and Impressionism. A great many talented artists were captivated by his use of composition, colour, and technique and developed flourishing careers by following his example.
The exhibition takes the visitor through six fascinating themes that explore different aspects of life and of the painter's art: violence, power, lust, compassion, elegance, and poetry. Each of these chapters demonstrates the links between masterpieces by Rubens and the work of artists who came after him.
Rubens and His Legacy. Van Dyck to Cézanne has been organised by the Royal Academy of Arts, London, the Royal Museum of Fine Arts, Antwerp and BOZAR (Centre for Fine Arts), Brussels. The exhibition is curated by Dr Nico Van Hout and Dr Arturo Galansino Curator (Royal Academy of Arts, London).
Rubens and his Legacy. Van Dyck to Cézanne
January 24 2015 - April 10 2015
Royal Academy of Arts, London
More info
(News Item January 21 2015)


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Dana Ann Dapolito, founder of Ten Simple Steps, is a Reiki Master Teacher, Certified Success Coach, and author of the Ten Simple Steps eBook.
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text:
From 'Chorus' to 'Stage Manager'
"Texts are therefore not structures of presence but traces and tracings of otherness. They are shaped by the repetition and transformation of other textual structures," said John Frow in his 'Intertextuality and Ontology'[1]. These definitive sentences are one of the ten theses he proposed to begin the theoretical discussion upon the term intertextuality.[2] What is vehemently interesting in intertextuality to be talked about when observing the works of art? It is its use of the voluminously spacious and diversified word: text or texts. On the condition that we accept the theory of intertextuality, we are then prepared to accept that things, from the atomic to the gargantuan ones, are texts; and thus the prefix inter- indicates the interlocking connection which becomes 'the blessed tie that binds'. This theory is then igniting a way of thinking that a textual form of creation does not stand alone in vacancy. So long as humans can track down histories, interconnections are more likely of the discovery.
In the realm of literature, in which text and its structure are of the essence, intertextuality is (almost) absolute. Goethe's Faust would never exist without the influence of Christopher Marlowe's Dr. Faustus. Shakespeare was influenced by Seneca, and Seneca by Sophocles. Putu Wijaya created his Aduh due to the influence coming from Samuel Becket's Waiting for Godot, brought by W.S. Rendra to Indonesia in the late 1960s. And the very same Waiting for Godot indeed influenced an American playwright Edward Albee through his The Zoo Story. No matter how much accentual or subtle, or how much deliberate or with-no-preconceived-purpose, they are, influences (read: intertextuality) do exist. Especially, and yet indeed not only, in the works of literature intertextuality is ubiquitous. It is (not) surprisingly everywhere. 'Repetition and transformation', to name them in Frow's terminologies, are the consequential effects produced by the intertextuality experienced by the 'new' texts. Since texts do have structures, again no matter how accentual or subtle they are, and since, to make it specific to the scope of our discussion, indeed literary texts have structures, contiguities of textual structures among literary works contribute the re-creations of form and content.
As for this short article, it is for sure the notion of intertextuality that induced me to observe the transformation of one of structural formal elements of a genre in literature, namely: drama. Throughout this writing I am trying to provide a comprehensive description about how an interactive intercreative dialogue done by playwrights has enabled a transformation of a formal element in traditional drama: the chorus. Let the show begin!
The Curiosity of the Chorus
What is chorus? Why has it become one of the formal conventions of drama? These what-and-why questions need to be asked to begin the discussion of its transformation.
The earlier meaning of chorus, etymologically derived from Greek khoros, is "a group of people, wearing masks, who sang or chanted verse while performing dancelike maneuvers at religious festivals".[3] In the tradition of Greek tragedies – in this, we have to note that Greek classical drama is up to now considered as the earliest root of English dramas – choruses were largely utilized. Greek classical drama itself "arose from choric dances in religious celebrations".[4] At this point, we have to bear in mind that the Greek tragedy was derived from the dithyramb, a lyrical expression of poetry presented in honor of Dionysus, one of the gods in Greek myth.[5] This sacred lyric poetry is accentuated through the use of the so-called 'dithyrambic chorus'. Hence, since the tradition of Greek tragedies is meant to be produced in line with religious activities, the use of dithyrambic chorus is of consequence.
Formerly, in the earliest Greek tragedy, the traditional chorus employed one actor and fifty chorus members, making the performance chiefly a choral one. Dithyrambic chorus then becomes a dramatic one when eventually the actor comes prominently out of the group, doing actions individually, detached from the leader of the chorus.[6] In its earliest use, chorus was functioning as an entity which commented on, as well as giving some elementary interpretations to, the actions. This means that chorus, though still included in the major structure of the tragedy, worked separately from the actions; it served as a distinct element, probably an objective one, who was granted a right to contribute motivated commentaries to the actions played at the stage.[7]
Apparently, in the history of Greek tragedies, a gradual shift happened. The performance was no longer choral; the actor and the dramatic elements appeared to be more significant. This is to say that, as seen in the works of Sophocles, chorus then functioned as merely and primarily lyrical. It also became less integral to the dramatic actions. Yet, it does not mean that it has no dramatic role in the actions anymore. As we may see in Oedipus Rex, for instance, there were times when Choragos, the leader of the chorus, exchanged words/dialogues with King Oedipus; this fact is observable, for instance, in the beginning of Scene One.
The functions of the chorus developed from its traditional conventions. It all started when a Roman playwright, Seneca, took over the Greek classical type of chorus. Moreover, in the mid-sixteenth century, English dramatists, some of which are Norton and Sackville, as in Gorbuduc, copied-and-pasted the type of chorus made use in Senecan dramas.[8] This condition was then followed and developed at the time of Elizabethan theatre. Significant alternations occurred. One of the most considerable shifts is the drastic reduction of the number of people involving in a chorus. Only one person is employed in the Elizabethan theatrical chorus. Also at this time, the functions of the chorus, which in the Greek classical dramas were to comment and interpret actions happening on stage, had been made more numerous and diverse. For instance, the chorus actor gave speeches in the prologue and epilogue of a play. In several occasions, the actor was also meant to introduce each of the acts.[9] Note that I now am using the term 'actor', rather than merely 'chorus'. What does this mean? It means that 'chorus' was ascended, from its former status that was non-, or less, integral part to the actions, to "become more integral parts of the unified actions".[10] Moreover, as stated by Abrams, "[t]his character served as the author's vehicle for commentary on the play," and this traditional function is added, "as well as for exposition of its subject, time, and setting, and of events happening offstage."[11] These monumental shifts and additions are evident in Christopher Marlowe's Dr. Faustus and Shakespeare's Henry V, to mention a few.
The appearance of chorus (or, it is better to name it 'choral actor', since it is now more integral to the actions played), to an extent, may arise confusion. This is true remembering that a choral actor will present a theatrical trait which is different from the actors who are playing as dramatic personas of the drama. One of the most 'distracting' oddities of a choral actor is the direction to whom s/he mainly talks. A choral actor will tend to address the audience directly. This produces oddity since, as noted by Gill, in his Mastering English Literature, choral figure "openly advertises the artificiality of the stage by refusing to be a character like the others and talking directly to the audiences about what is going on."[12] Due to this condition, the existence of a chorus in drama is thus made as one of dramatic conventions; chorus is a dramatic condition the audience has to accept and agree with.[13] And since it is now a convention, chorus is one more time ascended – its use is fully admitted integral to the whole structure of a drama; of course, this is true specifically for those plays which are utilizing chorus or choral characters in the stream of their dramatic structure.
The Development of Choral Techniques
In this part, I would like to present a discussion about the development of techniques of using chorus in drama. The texts that I am to compare are Sophocles's Oedipus Rex (representing Greek classical drama), William Shakespeare's Romeo and Juliet (representing Elizabethan drama), and Thornton Wilder's Our Town (representing English 20th century drama). Here I will try to put forward how each text represents its technique of using chorus. By comparing the three, we will finally see that modifications, improvements, and alternations taking place starting from Elizabethan era are creative consequential efforts made up by the playwright to respond to the zeitgeist, the spirit of age, of their own time.
--Sophocles's Oedipus Rex
As mentioned before, the organization of Greek theater is held as a part of a religious festival. It was at this time that the earliest standard technique of employing a chorus was established.
In Sophocles's Oedipus Rex, the use of chorus as the commenter and/or interpreter for the actions played on stage is significant. It is observable, for instance, in the Párados part. This expository part is divided into three 'strophes' and three 'antistrophes'; and every strophe or antistrophe is a response/comment to the earliest part of the play: the Prologue. In the Prologue, which is opened by a scene where King Oedipus addresses his countrymen in a speech, it is told that Thebes, the setting of place for the play, is suffering from despair and plague. Here is the quote from line 25-34, uttered by the Priest.
Your own eyes
Must tell you: Thebes is tossed on a murdering sea
And can not lift her head from the death surge.
A rust consumes the buds and fruits of the earth;
The herds are sick; children die unborn,
And labor is vain. The god of plague and pyre
Raids like detestable lightning through the city,
And all the house of Kadmos is laid waste,
All emptied, and all darkened: Death alone
Battens upon the misery of Thebes.
This is then responded by the chorus in Strophe I, in a form of an emphasis to the dialogue spoken by the priest.
Fear unjoints me, the roots of my heart tremble.
Now I remember, O Healer, your power, and wonder:
Will you send doom like a sudden cloud, or weave it
Like nightfall of the past? (line 157-160)
The commentary from the chorus then comes in Antistrophe I. It commented on, in a form of a prayer, the despairing condition of Thebes.
Let me pray to Athenê, the immortal daughter of Zeus,
And to Artemis her sister
Who keeps her famous throne in the market ring,
And to Apollo, archer from distant heaven –
O gods, descend! Like three streams leap against
The fires of our grief, the fires of darkeness;
Be swift to bring us rest!
As in the old time from the brilliant house
Of air you stepped to save us, come again! (line 163-171)
Interestingly, the chorus does not only respond to a 'general' issue like the despair of Thebes; but it also reacts to a quite special one like what Kreon, the brother of Oedipus' wife, Iokaste, has uttered previously in the Prologue part.
KRE. My lord: La?os once ruled this land, before you came to govern us.
OED. I know;
I learned of him from others; I never saw him.
KRE. He was murdered; and Apollo commands us now
To take revenge upon whoever killed him. (line 107-111)
The chorus commented this dialogue between Kreon and Oedipus, in which Kreon stated what he had learned from his journey to Delphi – he was sent by Oedipus to go to Delphi to find the remedies for the desperation Thebes was experiencing – that Apollo wanted people of Thebes to take revenge for the murder of La?os, their former king. The comment is given in the Párados part in Strophe 3.
Send the besieger plunging from our homes
Into the vast sea-room of the Atlantic
Or into the waves that foam eastward of Thrace –
For the day ravages what the night spares –
Destroy our enemy, lord of the thunder!
Let him be riven by lightning from heaven! (line 190-195)
In Sophocles's Oedipus Rex, the use of a chorus leader is significant. The utilization of a chorus leader, named Choragos in the play, is, in my opinion, maximal since he takes part in the actions of the play – he makes dialogues and also serves a role in the plot of the story. This is a little chunk of conversation between Oedipus and Choragos the Chorus Leader, in Scene I. They exchange dialogues right after Oedipus made a lengthy speech about the conditions he was about to do about the solving of La?os' murder case.
CHORAG. Since I am under oath, my lord, I swear
I did not do the murder, I can not name
The murderer. Phoibos ordained the search;
Why did he not say who the culprit was?
OED. An honest question. But no man in the world
Can make the gods do more than the gods will.
Choragos also serves a role in the flow of the plot. He is the one who introduced Oedipus to the blind seer Teiersias, who later heightened the heat of the plot by addressing accusation to Oedipus.
The idea of opening and closing the drama is also done by the chorus in Oedipus Rex. Though the play is not technically opened by the chorus, since the Parados of the chorus appears after the Prologue, which is not done by the chorus, the play is indeed closed by the chorus leader Choragos.
CHORAG. Men of Thebes: look upon Oedipus.
This is the king who solved the famous riddle
And towered up, most powerful of men.
No mortal eyes but looked on him with envy,
Yet in the end ruin swept over him.
Let every man in mankind's frailty
Consider his last day; and let none
Presume on his good fortune until he find
Life, at his death, a memory without pain. (line 1469-1477)
I found something interesting about the role of Choragos in the play. This finding will support that chorus, at least in Sophocles's Oedipus Rex, is indeed an integral part to the dramatic actions. In Scene III, Oedipus and his wife, Iokaste, had an argument about Oedipus childhood history. Iokaste insisted that the questioning should not be continued since it would bring down doom to him; until finally Iokaste, frustrated with Oedipus' stubbornness, left the place.
IOK. You are fatally wrong! May you never learn who you are!
OED. Go, one of you, and bring the shepherd here.
Let us leave this woman to brag of her royal name.
IOK. Ah, miserable!
That is the only word I have for you now.
That is the only word I can ever have.
[Exit into the palace] (line 1011-1019)
Responding to this situation, Choragus spoke
CHORAG. Why has she left us, Oedipus? Why has she gone? (line 1020)
Notice how Choragus brought the question to Oedipus. He used the first person plural (inclusive) pronoun 'us'. The use of such pronoun explains that Choragus is an integral part of the story. He is one of the characters playing in the drama. He, as the chorus leader, is the entity representing that the function of chorus in Greek classical drama was not only lyrical, but also dramatic. Yet one has to admit that the dramatic function of chorus in Greek tragedy is less significant than its lyrical one; and this issue is what is extensively worked-out and developed in our modern drama.
--William Shakespeare's Romeo and Juliet
As mentioned by Abrams, chorus is further used for its dramatic functioning rather than lyrical. Chorus is administered more roles in the play: it introduces the story (and frequently also closes it), puts forward commentaries upon the actions, brings the knowledge about the setting of place and time, and also telling events which are absent in the stage but are influential to the stream of the plot. Frankly speaking, Shakespeare's Romeo and Juliet is not the upmost instance of the development of chorus utilization technique in Elizabethan theatre. Shakespeare's Henry V, Christopher Marlowe's Dr. Faustus, or Twelfth Night by Shakespeare are considered more representative to signify the development of chorus utilization in Elizabethan dramas. Also, it is these plays mentioned just now which induced the more extended use of chorus – that modern drama critics have to attribute an additional specific terminology to cope with the metamorphosis of chorus; some name it 'choral' and some 'chorus-like'.[14] Yet, as for the interest of this writing, I decided to use Romeo and Juliet to be contrasted with another play we are about to discuss later, Wilder's Our Town.
The chorus in Romeo and Juliet, one person dressed in black, appears twice during this five-act play: in the Prologue and in the opening of Act II. In the Prologue, the chorus is there to announce some general yet nucleic information regarding the story to be performed in the stage. He is there to give preconditions to the audiences, preparing them for the plot by providing some 'clues' which may lead to the exposition-conflict-resolution of the play. Here is the quotation showing how the chorus introduces the two general characters of Romeo and Juliet: the Montagues and the Capulets.
Chor. Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean. (line 1-4)
In there, he altogether has also announced the setting of time where the play is (imagined) to take place. A little hint is also given, which, when observed, will bring understanding about the root of the conflict experienced by the Montagues and the Capulets (see line 3-4).
The chorus then continues his introductory speech by putting forward the preliminary information about the point at which the conflict in the play is to be arisen: the love between Romeo (son of Montague) and Juliet (daughter of Capulet).
From forth the fatal loins of these two foes
A pair star-cross'd lovers take their life;
Whose misadventur'd piteous overthrows
Doth with their death bury their parents' strife. (line 5-8)
There is an interesting thing I found in the chorus' introductory speech, i.e. the advertisement about the stage. In the Prologue, line 9 to 14, especially in line 12-14, the chorus clearly address to the probable duration of the stage playing the story.
The fearful passage of their death-mark'd love,
And the continuance of their parent's rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
Note the predicate is now the two hours' traffic of our stage. Here the chorus plainly informs the duration of the play, which is to say that he is not a part of the actions (that he is not integral to the dramatic body of the story) and that things presented on stage is indeed a play – meaning to say that it is an entertainment. This is where the difference is located, when Elizabethan drama is compared with Greek tragedy. In Greek theater, the performance is held as a part of religious activity. Nonetheless, in Elizabethan era, plays are plays as entertainment is entertainment. Thus, it is understandable that Shakespeare came up with the idea of using the chorus to address technical information about the stage. We will see further that this technique is developed even more dramatically in Wilder's Our Town.
Another different point that will be soon discovered, when comparing attentively Greek drama with Elizabethan drama, is the number of acts, which then brings consequences to the shifts in time-and-space setting. Oedipus Rex is drama in which the unity of time, place, and action is essential. This means that there is no time-and-place change in the play. The properties are just right there, on the stage, and need not to be (re)moved, added, reconfigured, or changed to produce different setting of time or place. However, the case is different when we come to Romeo and Juliet. There are five acts there and stage-scene changes do happen. Stage properties have to be changed or removed to come up with new settings. Again this is a matter of stage technicality. Yet, it indeed brings consequence to the use of chorus in, at least, Shakespeare's Romeo and Juliet. The appearance of the chorus in the opening of Act II is the example. In the copy of the play I was using as the data reference for this writing, the editor put a footnote regarding the appearance of the chorus in Act II. It is then understood that the chorus appears there not only because commentaries and preconditions need to be given to begin the new act; rather, it appears "affording time for scene change."[15] Apparently, the place setting of Act I (a square in Verona) is different from Act II, as we can see in the neben text: "Garden of Capulet's House, with garden-wall, and street adjoining. Full stage with balcony." This massive change of place setting needs time. Therefore, in front of the being-closed curtain, the chorus is employed to give time for the change.
The appearance of choral or chorus-like character, in my opinion, is not absent in Romeo and Juliet, though we may say that it is more utterly in Henry V, for example. Escalus, the Prince of Verona, in the very last part of the play, performs himself as the one who ends the story, acting as the chorus-like character, who highly probably directly address and announce the audience, with a choral speech.
Prince: A glooming peace this morning with it brings;
The Sun, for sorrow, will not show his head:
Go hence, to have more talk of these sad things;
Some shall be pardon'd, and some punished:
For never was a Story of more woe
Than this of Juliet and her Romeo.
[The scene closes] (Act V, Scene III, line 304-310)
There are two peculiarities which finally led me to the conclusion that the speech given by the Prince is chorus-like. The first one is the use of double-dots [:] after the name of the character, whereas throughout the script, the punctuation which distinguish the name of the character and the dialogue s/he is about to speak is a period [.]. The second peculiarity is the ambiguity of addressee to whom the speech is conveyed. We can see that the Prince used an imperative sentence "Go hence, to have more talk of these sad things," This sentence, and the way the Prince close his speech, using a causal adverbial clause "For never was a Story of more woe / Than this of Juliet and her Romeo" after reminding that "Some shall be pardon'd and some punished" attract my attention since it made me imagine that the speech can also be directed to the audiences in addition to the characters appearing on stage. The Prince is sort of giving a final concluding and advising remark to all people watching the story of the death of Romeo and Juliet to "have more talk of these sad things". Thus by spreading the moral messages in the story, the Prince (Shakespeare?) hoped to see effects produced as the follow-up after watching the aesthetic performance – the catharsis, to put it in Aristotelian term, is the spread of peace and love message; peace and love defeat grudge and hatred. His speech is not only the expressive of his character, it is like a public commentary made on the peak event. Thus the Prince is chorus-like.
--Thornton Wilder's Our Town
Modern plays become the witness of the great diversified use of chorus or choral/chorus-like characters in drama. Richard Gill gave us one prominent example of this diversified and extended use of chorus: the play A Man for all Seasons by Robert Bolt. He said,
"Robert Bolt creates the Common Man, who opens and closes the play, as well as commenting on the action in between. But he is also a character, or, rather, a number of characters: steward, boatman, publican, jailer, foreman of the jury and, finally, executioner. He is both apart from and part of the action."[16]
From the quotation, we can see that the chorus of A Man for all Seasons, the Common Man, is not only opening, closing, and commenting on the action of the play, as the traditional function of a chorus is, but also playing multiple characters in it. This very characteristic is chiefly significant also in Thornton Wilder's Our Town. We shall soon see, after a brief analysis about the chorus-like character in Our Town, the Stage Manager, that this shift is not without aesthetical and zeitgeist reasons.
Our Town is Thornton Wilder's masterpiece play written and performed in 1938. In this play, Wilder made use of a choral character he named the Stage Manager. For those who are not really familiar with the technical definition of this term, here I present its meaning, which I quote from Robert L. Benedetti's The Director at Work.[17]
Your Stage Manager…is many things to you: social director, police officer, general contractor, tactician, conscience and alter ego…The SM's (stage manager's) primary responsibility during the rehearsal process is to facilitate the work itself: this means making sure everything needed for an effective rehearsal is ready when work is to begin: a substitute set, furniture, props, whatever.
And it does not stop there. A stage manager "will also police the actors and deal with problems of lateness, incorrect line memorization, and rehearsal deportment." Therefore, a stage manager certainly will bring much influence to the organization of the stage. Once the performance begins, the stage manager will act as the "surrogate director", substituting the real director, who will be absent when the stage is opened.
Why did I give detailed explanation of the roles of a stage manager? It is because these very roles are what the character Stage Manager in Our Town is really playing. Let us see more about this.
The Stage Manager in Our Town opens the play, setting up the simple stage properties to be used later. This is the complete earliest neben text (stage direction) in the script of Our Town, showing the role done by the Stage Manager.
No curtain.
No scenery.
The audience, arriving, sees an empty stage in half-light.
Presently the STAGE MANAGER, hat on and pipe in mouth, enters and begins placing a table and three chairs downstage left, and a table and three chairs downstage right. He also places a low bench at the corner of what will be the Webb house, left.
'Left' and 'right' are from the point of view of the actor facing the audience. 'Up' is towards the back wall.
As the house lights go down he has finished setting the stage and leaning against the right proscenium pillar watches the late arrivals in the audience.
When the auditorium is in complete darkness he speaks.[18]
Notice how detail the neben text is. The Stage Manager, though a character in the play, does do his technical duty: 'setting up the stage', so to speak setting up the place where the play is about to take place; in a play usually a stage manager is the one who rather manages the setting up of the stage (the practical is done by the setting crews).
His introductory speech indeed reminds me to the speech of the chorus in Shakespeare's Romeo and Juliet, when the chorus inform the probable duration of the play. There, the Stage Manager tells,
This play is called Our Town. It was written by Thornton Wilder; produced and directed by A… (or: produced by A. …; directed by B. …). In it you will see Miss C. …; Miss D. …; Miss E. …; and Mr F. …; Mr G. …; Mr H. …; and many others.[19]
To some audiences, this information is awkward, and seems superfluous. Why should it be told? Perhaps, the answer for this question can be seen in Thornton Wilder himself. In the Preface he wrote for a book containing three of his plays, he announced,
Toward the end of the twenties I began to lose pleasure in going to the theatre. I ceased to believe in the stories I saw presented there. When I did go it was to admire some secondary aspect of the play, the work of a great actor or director or designer.[20]
Notice when he said "some secondary aspect of the play, the work of a great actor or director or designer." This notion will never be understood if one does not acknowledge how Wilder perceived theatre of the nineteenth century. Wilder was fed up with most of the performances, he did no longer believe in every word presented there. If he wanted to go to the theatre, it was only to admire the 'secondary aspect'. Another sentence from him will make this clear: "One way to shake off the nonsense of the nineteenth-century staging is to make fun of it."[21] The great work of the actor is a secondary aspect which could make Wilder, the author of Our Town, stepped his feet to the theatre auditorium. And since this aspect is only, for him, secondary, he made fun of it by making it 'primary'. The result is as we can see in the first words uttered by the Stage Manager of Our Town. Names of actors, actresses, director, or producer are mentioned – as if showing that the strength of the play (merely) relies on the strength of those people, and not on every word it functions. And Wilder use the 'chorus', the Stage Manager, to convey this critical notion.
Some of the roles of the Stage Manager in Our Town are traditional. Notwithstanding, these traditional functions are by and large extended to a degree. In Romeo and Juliet, for instance, the chorus is meant to introduce the setting of place for the play. In Our Town, this function is also done by the choral figure, the Stage Manager.
The name of the town is Grover's Corners, New Hempshire – just across the Massachusetts line: latitude 42 degrees 40 minutes; longitude 70 degrees 37 minutes. The First Act shows a day in our town. The day is 7 May 1901. The same is just before dawn.[22]
Yet, interestingly, he does not do this information alone. He invites some other characters to accompany him telling additional information about the town. He invited Professor Willard of the State University, asking him about some details about the town's history and its anthropological data.[23] He also invites Mr Webb, one of the characters in the play to step aside for a while from his dramatic character, and join him (the Stage Manager) to present some social and political reports about the town.[24] He even invites the 'audiences' to be involved in brief Question-and-Answer session with Mr Webb.[25]
The Stage Manager, being quite similar to Robert Bolt's Common Man in A Man for all Seasons, also acts as other characters to substitute the invisibility of those characters in the play. For instance, when he plays as Mrs Forrest, an old lady whom George Gibbs, son to Mr Gibbs (who is neighbor to Mr Webb), bumps into.[26] Or, when he acts as Mr Morgan, the invisible owner the drugstore; here is the stage direction specifying it.
[The STAGE MANAGER, wearing spectacles and assuming the role of Mr Morgan, enters abruptly from the right and stands between the audience and the counter of his soda fountain][27]
Or, when he acts as the minister who pronounced George Gibbs and Emily Webb husband and wife, as in this: "In this wedding I play the minister. That gives me the right to say a few more things about it."[28]
Abrams has stated that one of the functions of the modern chorus is to inform the events which are not present on the stage. This function is indeed also done by the Stage Manager in Our Town. One example will be presented here, when the Stage Manager gives information about the future of the character Joe Crowell, who at that time is told as a boy.
Want to tell you something about that boy Joe Crowell there. Joe was awful bright – graduated from high school here, head of his class…It was all wrote up in the Boston paper at the time. Goin' to be a great engineer, Joe was. But the war broke out and he died in France – All that education for nothing.[29]
Furthermore, as the one who holds the flow of the plot of the play, the Stage Manager indeed makes many interruptions and some of these interruptions are announced to the characters and responded by them. Here is one of the examples.
[The STAGE MANAGER enters briskly from the right. He tips his hat to the ladies, who nod their heads.]
STAGE MANAGER: Thank you, ladies. Thank you very much.
[MRS GIBBS and MRS WEBB gather up their things, return into their homes and disappear.][30]
The Stage Manager also clearly announces the change of time when it will be changed, as in "Now we're going to skip a few hours."[31] Here, it is then prominent that the role of the Stage Manager seems to be like a dalang in Javanese wayang, or a master of ceremony in a formal occasion.
Though making many interruptions, apparently, the Stage Manager also has the role of removing interruptions made by some minor characters. This is the scene of George and Emily's wedding. There are three baseball players there (George's friends), shouting cheerfully at him.
THE BASEBALL PLAYERS: Eh, George, George! Hast – yaow! Look at him, fellas – he looks scared to death. Yaow! George, don't look so innocent, you old geezer. We know what you're thinking. Don't disgrace the team, big boy. Whoo-oo-oo.
STAGE MANAGER: All right! All right! That'll do. That's enough of that.
[Smiling, he pushes them off the stage. They lean back to show a few more catcalls.][32]
Lastly, since he opens the stage, he also closes it.
[The STAGE MANAGER appears at the right, one hand on dark curtain which he slowly draws across the scene.]
STAGE MANAGER: Most everybody's asleep in Grover's Corner… Hm.. Eleven o'clock in Grover's Corners – You get a good rest, too. Good night.[33]
And so complete the roles of the Stage Manager are: he gives comments; he acts as invisible characters in the play; he puts forward information about the setting of time and place in details; he manages the plot of the story; he provides the audiences with events being absent on stage, he sets up the properties of the stage, he opens and thus closes the play. Now, the question: why do all these happen in modern play?
The Ascendency of the Chorus – the Ascendancy of the Clown
In this part, I am going to try to answer why the phenomenon of chorus 'ascendency' happened, chiefly in modern drama. To my opinion, we cannot ignore this chorus phenomenon, the shift, because it also brings effect to the development of play writing.
First of all, we have to notice that in Greek tragedies, though tending to be lyrical, we cannot resist to admit that the role of the leader of the chorus, as we can see in Choragos in Oedipus Rex, is indeed significant and dramatic, rather than lyrical. Notice that formerly there were 50 persons employed in a chorus, and one of them is the actor. This number was reduced massively into just 12 persons. Sophocles added some more, making it 15. Yet, what is interesting is the role of the chorus leader; a chorus leader is free to interact with the other dramatic characters in the play – this makes him integral part of the dramatic body of the play. We then understand that the chorus leader is just one person. This quantity is what adopted in Elizabethan theatre. Elizabethan drama made use of just one person to deliver the prologue and epilogue of the drama; a function it derived from Senecan dramas. And yet, Elizabethan dramas came up with its discovery of the so called choral character or characters. These characters are not the chorus, yet they are the chorus-like ones. And this has produced ambiguity about the meaning of chorus: is chorus chorus-like or is chorus-like chorus?
I see this bias happening due to the trait of Elizabethan dramas which only put chief attention to the main characters; and the main characters are usually important people, such as noblemen, kings, etc. Minor characters are only used to 'interrupt' the serious tense atmosphere of the play by making 'jokes'. This phenomenon is observable in many Shakespeare's plays. These minor characters are then named the 'clown'. The stories of Shakespeare's plays are never about the clowns, they are mainly about the important people. This tendency, in my knowledge, produced hesitation in Elizabethan dramatists to ascend the role of the chorus into one of the primary figures in the play; since it would tend to break the convention.
But what do we have now? We have the chorus, or say the choral character, in its modern appearance and type, modified into a character that plays actions and even holds the management of the plot of the story. Indeed, the main structure of the story is not about the chorus him/herself: the story we see in Our Town is not the story of the Stage Manager (or, can it be?). However, the roles and functions of the chorus are truly intensified. What does this signify?
To my understanding, we can answer this question by seeing the ascendency of the chorus to the ascendency of the clown in modern dramas. In today's drama, most of the stories are about ordinary people; they are not kings nor noblemen nor knights, or something like that. They are salesmen, barber, simple mothers, doctors, farmers, etc. The stories of modern drama are mainly about these people. It can be understood that this difference is a consequence of the change in the society. The community in Elizabethan era was still feudal where today is liberal.
The ascendency of the 'clown', or ordinary people, as the center of stories in today's play, to an extent, gives way for the extensiveness of today's chorus. Chorus is therefore not functioned as merely an announcer; a chorus can be everything in the play: it can be the telescope from which the audience can see closer to the essential details of the story played on the stage; it can be the one who substitutes invisible actors on the stage; it can be the one who announces what happens next and what happened before, and so on and so forth. Chorus is no longer reduced into its separated/isolated place apart from the actions. Chorus becomes more flexible; it can swim to and fro, apart from but also a part of the actions. This is why chorus becomes so important and thus ascended.
Concluding Remark
I have started this piece of writing with a very short discussion about intertextuality. I hope I have made intertextuality effective in the discussion of the transformation of chorus from Greek to Modern plays. The metamorphosis is indeed a cause-and-effect product of interactions among playwrights from different generations. A writer is used to be a reader. S/he cannot write in a vacant situation. Influences should not be perceived as only stimulation for a mere imitation. We have seen the proof. Creativity has made the development of the technique of using chorus contribute to the development of the whole structure of English plays. Intertextuality indeed plays its role in the changes and creative modifications shaping what is now recognized as English Drama.
Abrams, M.H. A Glossary of Literary Terms. (6th ed.), Orlando: Harcourt Brace Jovanovich College Publishers, 1993.
Benedetti, Robert L. The Director at Work. New Jersey: Pretice-Hall Inc., 1985.
Gill, Richard. Mastering English Literature. (2nd ed.), London: Macmillan, 1995.
Encyclopedia International, Stanley Shindler (editor in chief), vol. IV, New York: Grolier Inc., 1971.
Texts of the Plays
Shakespeare, William. The Tragedy of Romeo and Juliet. The British Council.
Sophocles. Oedipus Rex.
Wilder, Thornton. Our Town. Penguin, 1982.
[1] Published in Intertextuality: Theories and Practices. Michael Worton and Judith Still (eds.), 1990, p. 45.
[2] This term was coined by Julia Kristeva, a French feminist. See ibid. p. 1.
[3] M.H. Abrams' A Glossary of Literary Terms, 1993, p. 26.
[4] Encyclopedia International, Stanley Shindler (editor in chief), vol. IV, 1971, p. 402.
[5] Ibid.
[6] Ibid.
[7] What I meant by 'motivated' is the fact that the comments and interpretations a chorus launched would precondition the flow of the plot of the drama.
[8] 1993, ibid.
[9] Ibid.
[10] Ibid.
[11] Ibid.
[12] 1995, p. 216.
[13] Ibid.
[14] 1993, ibid. and 1995, ibid.
[15] Act II, p. 49.
[16] 1995, p. 217.
[17] 1985, p. 150.
[18] 1982, p. 21.
[19] Ibid.
[20] Ibid., p. 7.
[21] Ibid., p. 13.
[22] Ibid., Act One, p. 21.
[23] Ibid., Act One, p. 32.
[24]Ibid., Act One, p. 34.
[25] Ibid., Act One, p. 35-6.
[26]Ibid., Act One, p. 37.
[27] Ibid., Act Two, p. 63.
[28] Ibid., Act Two, p. 68.
[29] Ibid., Act One, p. 25.
[30] Ibid., Act One, p. 32.
[31] Ibid.
[32] Ibid., Act Two, p. 69.
[33] Ibid., Act Three, p. 90.
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From engagement rings to fashionable fine jewelry in classic to contemporary styles, Gordon's Jewelers offers customers the perfect jewelry and gift items for all types of occasions.127630ATTR:WEDDING SETSJEWELERS
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The analysts forecast the global eye tracking devices market to grow at a CAGR of 40.28% during the period 2017-2021.
Pune, India - October 13, 2017 /MarketersMedia/ —
Global Eye Tracking Devices Market
WiseGuyReports.Com adds" Global Eye Tracking Devices Market 2017-2021 "Research To Its Database.
Eye tracking refers to the process of using sensors and optical cameras to trace and record the movements of the eye and its focal points. The eye tracking devices include remote and head- mounted eye trackers. There are several eye tracking techniques: Electro-sensor based eye tracking, Scleral search coil eye tracking, Infrared eye tracking, and Video-based eye tracking.
The analysts forecast the global eye tracking devices market to grow at a CAGR of 40.28% during the period 2017-2021.
Covered in this report
The report covers the present scenario and the growth prospects of the global eye tracking devices market for 2017-2021. To calculate the market size, the report considers new installations, shipments, and sales.
Get sample Report @ https://www.wiseguyreports.com/sample-request/1431274-global-eye-tracking-devices-market-2017-2021
The market is divided into the following segments based on geography:
• Americas
The Global Eye Tracking Devices Market 2017-2021, has been prepared based on an in-depth market analysis with inputs from industry experts. The report covers the market landscape and its growth prospects over the coming years. The report also includes a discussion of the key vendors operating in this market.
Key vendors
• Tobii Pro
• SensoMotoric Instruments (SMI)
• SR Research
• The Eye Tribe
• Gazepoint
Other prominent vendors
• Ergoneers
• EyeTech Digital Systems
• LC Technology
• Pupil Labs
• Smart Eye
Market driver
• Integration of eye tracking technology into VR
• For a full, detailed list, view our report
Market challenge
• Presence of intellectual property rights and patents
• For a full, detailed list, view our report
Market trend
• Increasing use of eye tracking data by advertisement and neuromarketing fields
• For a full, detailed list, view our report
Key questions answered in this report
• What will the market size be in 2021 and what will the growth rate be?
• What are the key market trends?
• What is driving this market?
• What are the challenges to market growth?
• Who are the key vendors in this market space?
• What are the market opportunities and threats faced by the key vendors?
• What are the strengths and weaknesses of the key vendors?
Report Details @ https://www.wiseguyreports.com/reports/1431274-global-eye-tracking-devices-market-2017-2021
Table of Contents -Major Key Points
PART 01: Executive summary
PART 02: Scope of the report
PART 03: Research Methodology
PART 04: Introduction
• Market outline
PART 05: Market landscape
• Market overview
• Market size and forecast
PART 06: Five forces analysis
• Five forces analysis
PART 07: Market segmentation by application
• Research
• AR and VR
• Human computer interactions (HCI)
• Training and simulation
• Healthcare
PART 08: Market segmentation by product
• Remote eye trackers
• Head-mounted eye trackers
PART 09: Geographical segmentation
• Americas
PART 10: Decision framework
PART 11: Drivers and challenges
• Market drivers
• Market challenges
PART 12: Market trends
• Development of eye tracking for mobile devices
• Increasing use of eye tracking data by advertisement and neuromarketing fields
• Growing number of applications
• Bundling of technologies to improve end-user experience
PART 13: Vendor landscape
• Competitive scenario
PART 14: Key vendor profiles
• Tobii Pro
• SensoMotoric Instruments (SMI)
• SR Research
• The Eye Tribe
• Gazepoint
• Other prominent vendors
Contact Info:
Name: Norah Trent
Email: Send Email
Organization: WiseGuy Research Consultants Pvt. Ltd.
Address: Office No. 528, Amanora Chambers Magarpatta Road, Hadapsar Pune - 411028 Maharashtra, India
Phone: +1-646-845-9349
Source URL: https://marketersmedia.com/eye-tracking-devices-2017-global-market-size-status-analysis-and-forecast-2021/249978
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Carmen D. (Duarte) Valdez
b. Dec. 4, 1924
d. May 15, 2003
w/o Ralph Castro Valdez, Sr.
Nearest relative, son, Ralph Valdez
Site # E/006/L
Az. Ruffner Funeral Home, Prescott, Az.
Buried May 21, 2003
Contributed on 7/5/11 by jlwight
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On this site you can upload gravestone photos, locate ancestors and perform genealogy research. If you have a relative buried in Arizona, we encourage you to upload a digital image using our Submit a Photo page. Contributing to this genealogy archive helps family historians and genealogy researchers locate their relatives and complete their family tree.
Submitted: 7/5/11 • Approved: 7/5/11 • Last Updated: 3/25/18 • R80174-G80174-S3


text: Since this is a book on web performance tuning, you might think a chapter on capacity planning is out of place. Not so. Capacity planning and performance tuning are in a sense the same thing: choosing system components, placement, and parameters based on performance criteria. The difference is in when they are carried out. Capacity planning is part of planning; it is generally done before any of the system has been assembled. Tuning, on the other hand, is done after the initial architecture is a fact, when you have some feedback on the performance of the architecture. Perfect capacity planning would eliminate the need for performance tuning. However, since it is impossible to predict exactly how your system will be used, you'll find that planning can reduce the need to tune but cannot eliminate it.


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Let the memory of Lethia be with us forever
- Passed away on September 7, 2016 .
Hemingway, Ms. Lethia J., 40, Columbus, GA, died Wednesday, September 7, 2016.
Homegoing Celebration: Monday, September 12, 2016 at 11:00 a.m. , St. Mary's United Methodist Church with Pastor K. Pendleton officiating.
Visitation is Sunday, 1 til 3:00 p.m. at the funeral home.
The family is receiving friends at 2840 Warm Springs Rd., Apt. D2.
Arrangements by Progressive Funeral Home, Inc.,
Deepest condolences. May your grief be swiftly replaced with fond memories and a smile. Praying for you all during this difficult time. Remember its not really good bye--just so long for now. Til' the circle be unbroken. Jon&Yolonda Harmon
We are all at a loss for words! We were truly saddened to hear of Muff's passing. She will always be remembered by us all for being such a lovely young lady inside and out, with a beautiful smile that could light up any room. We fill so blessed to have had the opportunity to have known and to have been touched by such a precious one. Carol, our hearts go out to you and our prayers will continuously go up for you. Love you lots!
Thia, I loved you as a sister and I'm so glad that I was able to see you in July when we came to Atlanta. I had no idea that it would be our last time. I'm so thankful for that time. I'm still in disbelief, but I will trust in God. The memories of you and Carol hanging out in NC or the time that I hung out with all of you in Los Angelos was some of the best times of my life. Morris, Janee, Deion and I will miss you my sister and my friend. Take care of Dad and granny. Love you.
Oh Ms Thia!!! Words cannot express how sad I am that you have passed on. You were such an amazing person with a heart so large. You were so kind to everyone. I am more sad that I only got to know you for a short amount of time although that short amount of time I was blessed to know you was amazing. My condolences with Ms Thia's family, friends and loved ones!


text:
What Steve Jobs said about Antennagate at his press conference last week was that everyone could have a free case. But anyone who watched knows what he was really thinking.
Now, CollegeHumor shows us what the press conference would have looked like if Steve had been able to speak his mind:


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Category Winners(Click to enlarge photos)
| Sustainability
|Image of Construction
|Chris Rowett
|James Mounsey
Willmott Dixon
|Emma Hewitt
Building Plymouth
|The Exeter G4C Young Achiever of the year awards were held on 23rd May 2017. Covering Cornwall, Plymouth, Devon & Exeter, Somerset and Dorset Clubs.
G4C (Generation for Change) is a sub-group of Constructing Excellence and its mission is to change the construction industry and CESW is delighted to be supporting this with our inaugural G4C Awards in Bristol and Exeter. Why? Because one day they will be the ones managing the outcomes of today's decisions.
An ever growing regional base is making G4C more accessible to the UK as a whole and their online presence continues to grow giving everyone an opportunity to put their opinion forward and add their name to our voice. Here in the South West we have an active group in Bristol headed by John Gallagher of Magnox and we hope these awards will bring forth new talent to spearhead a network of G4C groups within each of our South West Clubs and Hubs.
G4C is running events on a number of issues and opportunities from sustainability and BIM to the image of construction, open/Big Data and the construction 2025 strategy. These events will be held across the regions and wherever possible be available online via live streaming.
The G4C LinkedIn group gives an opportunity to start discussions and put forward the opinion of the younger generation to the wider industry. As the G4C membership base grows so does the strength of their argument and we intend for the South West to play its part in this important direction of travel bringing together the entire supply chain without any silo thinking.
If you're passionate about the industry and want to drive it forward G4C is the place for you, their generation will be the leaders of this industry in 2025.
Let's make it their industry.
Let's start to shape it in the G4C image now.
Let's make sure the 2025 vision is the G4C vision.
It's down to all of us! If you are 35 and under or in the first five years of a career in construction and passionate about the future of the construction industry join G4C South West and take part in events, workshops, debates and seminars that will shape the future direction of our industry.
| Sustainability
|Image of Construction
|Chris Rowett
|James Mounsey
Willmott Dixon
|Emma Hewitt
Building Plymouth


text:
|March 29, 2017
|29.03.2017 E-invoicing and Telema eFlow seminar in Riga
Telema breakfast seminar for IT partners and clients in Riga emphasized the efficiency of electronic data interchange. It discussed that all EU member states will have to implement B2G e-invoicing by November 2018, and checked how ready are Latvian enterprises, ERP-providers and the state.
More than 20 IT partners and clients gathered to listen to e-invoicing news. This spring the topic is widely discussed due to the fact that by November 2018 all EU member states will have to implement B2G e-invoicing. Andris Melnūdris, the Director of Latvian IT Association gave an overview of what is the e-invoicing status in Latvia.
Telema introduced its new solution for electronic cost allocation and invoice approval - Telema eFlow. IT partners were especially interested in the integration options with their ERP-s.
With e-invoicing gaining ground, customers are looking for international document roaming possibilities. Telema's roaming partnerships were also presented at the seminar.
Review event presenations and take a look at the photos.
|Telema AS


text:
Kittens need a rabies vaccination and another core vaccination that safeguards against feline rhinotracheitis, feline panleukopenia and feline calicivirus, according to PetMD. That vaccination usually comes in one shot to provide protection for all three and can be given when a kitten is 6 weeks old.Continue Reading
The vaccination is administered every three or four weeks until a kitten is 16 weeks old or older. A rabies vaccination can be administered when a kitten is 8 or 12 weeks old, depending on the type of vaccination.
Kittens in certain situations may need additional shots, such as the feline leukemia vaccine or the feline immunodeficiency virus vaccine.Learn more about Veterinary Health


text:
Ladies latest
07 August 2014|Tottenham Hotspur
Karen Hills reports a positive pre-season so far for Tottenham Hotspur Ladies.
The team continued preparations for the start of the FA Women's Premier League South against Gillingham on August 24 with a 2-0 win against touring US team Whiteman College a fortnight ago before losing an eight-goal encounter against Arsenal on Saturday.
There are a number of new faces in the squad including goalkeeper Toni-Ann Wayne, Irish international Avilla Bergin, Leanna Mabey from QPR and Leah Rawle from West Brom.
"We've made some good signings and they way the squad is started to blend is very encouraging," said Karen.
"The friendly against the US touring team was a tough examination and we saw some good combination play against Arsenal, that proved a worthwhile 90 minutes for us.
"Things are going well so far, it's looking promising."
Wendy Martin and Lucia Adrianna Padilla scored against Whiteman College and Wendy struck twice again against Arsenal, this time joined on the scoresheet by Katie O'Leary as we ended up losing 5-3 at Potters Bar.
The team's preparations continue with a friendly against Millwall on Sunday before taking on Hertford (August 13) and MK Dons at Ware FC (August 17).
Spurs Ladies v Arsenal: Wayne, Waithe (Giddings, 46), Gamble, Dunne, Rawle (McLean, 46), Maloney, Via, O'Leary (Mabey, 46), Martin (Leon, 46), Bergin (Morelli, 46), Padilla.


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Trinity College Colac visits PSC for a Photography Workshop
Last week PSC sparked inspiration in the hearts of twenty year 12 students from Trinity College Colac – a secondary school that pushes boundaries with its extra-curricular focus. Students who came to PSC were those with media classes, interested in exploring different styles in photography, with the best college in Asia- Pacific.
Led by PSC course director, Daniel Boetker Smith, students were first introduced to the concept of 'Instagram Photography'. He broadened their understanding about new frontiers of the art and medium, giving them a list of leading Instagram photographers to seek inspiration from, for the workshop session of the day.
'Students chose from leading photographers like Chien Chi Chang, Stacy Kranitz, Victor Cobo, Boogie Photographer, and PSC's Katrin Koenning to use as their inspiration for the workshop. We discussed the way Instagram can be a vibrant gallery for showing off your work, and that plenty of careers have been made off the back of Instagram. The workshop was really a starting point to test out different styles and approaches. Students were encouraged to take away some important messages about the power of the photographic image.' (Daniel Boetker Smith)
Trinity College Colac teacher, Ryan Geary accompanied our students and was impressed by the outcome of the workshop:
'The session was perfectly timed in our content and the students gained an enormous insight as well as skills which will benefit them as soon as next week.The session was informative, interesting and interactive which our students loved. After the initial shock of having to use their Instagram accounts they were soon coming up to me and saying how others were liking and commenting on their photography which also gave them confidence.'
Thanks to Maria Duarte, the communications and students officer for full time studies, images of students were reposted on the PSC Instagram account:
This was yet another successful collaboration between our teaching staff and aspiring photographers from Australia. Secondary students from Trinity College Colac absolutely enjoyed the exposure they received thanks to spending a day at PSC. They received professional feedback for the work they jubilantly created, giving them a slice of the PSC life! We are looking forward to our next workshop in May.
"The workshop was a great opportunity to get back to basics, we just got out into the street and were shooting really raw and improvised ideas. We had fun, and the students really came away with the understanding that there is never a right or wrong answer with photography, you've just got to do what feels right." (Daniel Boetker Smith)


text:
2013-07-11 / Community News
Roadcheck 2013 Inspects 9,200 Commercial Vehicles
The Texas Department of Public Safety (DPS) inspected more than 9,200 commercial motor vehicles, compared to 8,062 in 2012, during a three-day inspection effort last month as part of Roadcheck 2013.
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Growing Calendar for Chinese Celery Seeds - Kin Tsai
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Smaller, slimmer celery stems than standard varieties, with a very strong celery flavour. It is one of the most commonly grown vegetables in China and is indispensable in soups, stews and stir-fires.
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