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Cast Size: Small (1-10) • Medium (5-21) • Large (14+). Vocal Demands: Easy • Moderate. Dance Requirements: Some Dancing Required • Minimal. Good For: Elementary School • High School • College/University • Amateur/Community • Professional Theatre • Religious Organization.
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Interview with: , , , , , , , , , , , , , , , , , ,
ED: Was there a particular discovery in the design process of South Pacific that opened the work up?
BS: The diagonal we discovered brings an energy and a dynamism to everything. We were really struggling with the design, which was very symmetrical, and then suddenly when we threw it on a diagonal it almost started to stage itself.
ED: And will the set pieces be automated?
BS: There won't be as much of that. The floor itself is automated, but because the island is occupied a lot of it will be pushed on by hand, by the Seabees.
MY: It feels very Brechtian, in a funny way.
BS: If it's a little too slick and a little too automated, it's going to lose that out-at-the-edge-of-the-universe quality.
ED: What are you doing now?
MY: We had a bid session two weeks ago.
ED: What is a bid session?
MY: Everything that's going to be on that stage has to have a price put on it. So we take all the drawings that were made from the rough models and invite shops to come to Lincoln Center and bid on them. Everyone's very poker-faced. You talk about each plate of drawings, and you answer their questions as they assess how you want things built or painted. Then they go away, and for about two weeks you're bombarded with logistical questions. Today my heart is in my throat-we're waiting for the prices to come in. Usually they come in at two or three times what you have to spend.
ED: It's sort of like hiring a contractor.
MY: Exactly. The process is good; it makes you reexamine every piece. It makes the design much more concise. Then we go through everything with Jeff Hamlin, who's the production manager, and Paul Smithyman, his associate, and we talk about which shop is going to be able to do what.
ED: Do the shops ever come back with different ways of building something?
MY: Totally. As a set designer, you really only convey what you want something to look like; you're not telling them how to build it. So the drawings themselves have a lot of character-Billis's laundry unit's got a washing machine with suds that flop around and spill out, and it has its own springs. And the shops love that. They give us a lot of feedback about how things should be built. Several of them said to me, "Oh, this is going to be so much fun. We really want to do this." And it's great when you get that kind of response.
ED: It's like you've designed a house, and all the furniture. Did you always want to be a set designer?
MY: I grew up in Dallas, Texas, and every spring the Metropolitan Opera would come through on tour. In the fourth grade, I had a fantastic music teacher who would go to the offices of the Met and bring back posters of the shows. She would paper the classroom with them and tell us cleaned-up stories of the operas, and then she would take us to matinées. I lived for those springs when the Met would come through. I'd see everything. And our teacher would have us make little shadow boxes of scenes from the opera in shoeboxes. And I'm still doing it. (Laughs) My mother still has some of them. I was obsessed. Opera News would feature whatever opera was being broadcast on the radio on Saturdays, and I would listen and look at the pictures of the sets in the magazine. I'd copy them and then I'd make them better. I loved it. Dallas was an amazing place to be at that time. Lawrence Kelly, who founded the Dallas Civic Opera, brought this unknown Italian director, Franco Zeffirelli, to Dallas. And Zeffirelli directed La Traviata with Maria Callas. I saw that; she was truly extraordinary. It was life-changing.
ED: How did you find your way to the East Coast?
MY: Well, there were the Dallas summer musicals, which were performed in the same theater as the operas. I think they did six or seven musicals for two weeks every summer. And these were full-blown productions, designed mainly by a Yale graduate who lived in Dallas, Peter Wolf. He had a fantastic shop. He was a wonderful designer for musical comedy. So I would usher, and I'd watch those shows fourteen times. I would sit in the balcony. It's where I first sawSouth Pacific and Brigadoon. My father and I went to see Peter, but he couldn't hire me since his shop was unionized. So I asked him what I should do to pursue set design, and he said, "Go get a good liberal-arts education. Don't go into it now. Study art, study architecture, English, theater, history. Then go to the Yale School of Drama, where I went, and study set design with Donald Oenslager." I went to a small school, Stetson University, in Florida. I was a terrible student. But they did have a good, small theatre program and a junior-year-abroad program. So I studied in Spain and traveled around, seeing as much opera and theater as I could. The other day I found a program from a Rigoletto that I saw at La Scala. I didn't realize at the time what I was seeing, but the list of singers included Luciano Pavarotti. This was back in the sixties. It was an incredible time. Everyone should leave the country for a time and study abroad; it completely changes the way you think about things and the way you perceive your own country. I came back and applied to Yale, and spent a year teaching at a high school in Florida that had just been integrated. We did Spoon River Anthology, and I directed and designed it with the kids. It brought the black and white factions together, and so when I was accepted at Yale I almost didn't go, because I felt like I was really doing something there. I loved teaching.
ED: Years ago, this magazine published an article by Arthur Levine, the president of Teachers College, Columbia University, who said the only two parts of academia that are truly integrated are theater and sports.
MY: That's absolutely right. It was wonderful to watch these kids. They were completely separate until we did the tryouts. But they got to know each other, and by the end they had bonded. And I thought, Wow. This is what theater can do.
ED: As we sit here today, at the same time as you're immersed in creating South Pacific you're also in the theater every night, in technical rehearsals watching another set of yours, the one forCymbeline. After you've watched your set come to life-after the load-in where the trucks pull up, and the crews come, and they build it all, and you watch your house being built-you still don't go away?
MY: No! No! I think the most terrifying moment for a designer-and maybe I'm alone in this-is when the set finally arrives on the stage. I work very closely with the master carpenter-here it's Bill Nagle, who's fantastic. Long before the sets hit the stage, we have to work out where everything hangs, how everything has to move so pieces don't collide with each other. Then, I try to stay away from the load-in process because when they're bringing in scenery things get banged and broken. When they're ready, I try to come in for the first time from the lobby, the way the audience will. And I think, Is this going to work? It takes a bit of time for everyone to get used to the fact that it's not a model anymore and that it's bigger than they thought, or smaller than they thought. It is like a house. You have to move into it and learn to be able to get up in the middle of the night and find the bathroom without turning a light on. You have to know how to live in it. And then, as you go through the technical rehearsals-my favorite part of the process, besides the research-you're all in the same room and everyone's working on it. And then the actors come onto the space and make it their own. That's when the show comes to life. It's a miracle to me.
Table of Contents
The tale of SOUTH PACIFIC is as fascinating as the tales that inspired it. When director Joshua Logan suggested the idea of doing a musical based on James Michener's collection of short stories, Tales of the South Pacific, to producer Leland Hayward, Hayward immediately saw its possibilities. Logan, who had already achieved great success in the post World War II theatre with his production of MISTER ROBERTS, saw a great dramatic potential in focusing on one corner of the vast world war that had just been fought. He conveyed his vision to longtime friend and collaborator, composer Richard Rodgers.
Rodgers though that several of the stories had strong dramatic potential, and his opinion was confirmed by his partner, librettist/lyricist Oscar Hammerstein II (who had also sought comments from his son William Hammerstein who had not only served as stage manager for Logan's MISTER ROBERTS but had himself served with the U.S. Navy in the South Pacific during the war.) While Logan had originally intended to musicalize only one of the stories in Michener's collection, "Fo' Dolla," it was Rodgers' idea that they secure rights to the entire book to draw different characters and plot strands for their musical.
This turned out to be a wise move because, upon closer investigation, the romance at the heart of "Fo' Dolla"—about a handsome American marine officer and the local island girl whose heart he breaks—was too close to Puccini's MADAME BUTTERFLY to build an entire musical around (at least, such was the thinking in the days before MISS SAIGON.) So, while it was decided to make this the tragic subplot of the musical, another romance was needed to give SOUTH PACIFIC its dramatic structure. A story called "Our Heroine" seemed to be a better choice for a main plot and its unusual May-December romance was perfectly suited to Rodgers and Hammerstein's penchant for writing to challenging situations. This story dealt with a romance between a middle-aged French planter, Emile de Becque, and Nellie Forbush, a young American nurse from Little Rock, Arkansas while also delving into the disturbing issue or racial intolerance and bigotry.
Casting the starring roles was comparatively easy. Ezio Pinza, the famed Metropolitan Opera basso, was anxious to appear in a Broadway musical and the part of Emile was perfectly suited for him. Mary Martin, who had impressed Rodgers and Hammerstein the year before with her fresh, down-home country appeal in the title role of the national tour of ANNIE GET YOUR GUN, was their first and only choice for Nellie. Mary Martin, however, needed some coaxing; she was dying to appear in the musical, but nervous about co-starring with a talent as large as Ezio Pinza. "What do you want," she reportedly quipped. "Two basses?"
But one hearing of the score convinced her. Knowing who they wanted for their leads, Rodgers and Hammerstein wrote the score for them. Thus, the two leads are never in musical competition with each other; in fact, rarely to they even sing a duet with one another (a gentle reprise of "Some Enchanted Evening" is the only exception, while their "Twin Soliloquies" are more complementary than competing.) Emile, the romantic European, is given such luxuriant, rolling numbers as "Some Enchanted Evening," and "This Nearly Was Mine" while Nellie from Little Rock gets the infectious, brassy Broadway sounds of "Honey Bun," "I'm In Love with a Wonderful Guy," and "I'm Gonna Wash That Man Right Outa My Hair."
Although it had its share of problems, SOUTH PACIFIC enjoyed a comparatively smooth sail to Broadway via out of town tryouts in New Haven and Boston, Expectations were running high: the director and the authors were at the pinnacles of their careers; the two stars each had fans in their own arenas and together promised to create a whole new following; and the subject matter hit home to an America still dealing with the giddy excitement and relief at having survived a second world war in less than half a century.
By the time it opened on Broadway SOUTH PACIFIC was already legendary, the major theatrical event of Broadway in its golden era. Astonishingly, this was one musical that not only managed to meet its hype, but actually to top it. "Magnificent," cheered Brooks Atkison in the New York Times. "SOUTH PACIFIC is as lively, warm, fresh and beautiful as we had all hoped it would be."
SOUTH PACIFIC received the 1950 Pulitzer Prize for Drama and for the first time the committee included a composer (Richard Rodgers) in the drama prize. It received eight Tony Awards, including Best Musical, a Grammy Award and countless other accolades. For years the second-longest running show in Broadway history (right behind OKLAHOMA!), it has proven itself a classic in countless productions around the world and on the silver screen, where Rossan Brazzi and Mitzi Gaynor took us to the enchanted South Pacific.
On an island in the South Pacific during World War II, Nellie Forbush, a young Navy nurse from Little Rock, Arkansas, meets and falls in love with a gallant, middle-aged Frenchman, Emile de Becque. Emile is a planter and has lived on this particular island for twenty-five years. When he proposes to Nellie, he confesses that the reason he had to flee France was because he killed a man—the town bully whom no one else would stand up to. Nellie is able to accept this explanation and promises to consider Emile's proposal of marriage.
Also stationed on the island is a group of restless sailors, Seabees and marines who are obviously bored and sorely in need of female companionship. Souvenir collecting is about the only active pastime and has developed into a healthy competitive marketing war between Seabee Luther Billis, who has cornered the market in everything from grass skirts to shrunken heads, and Bloody Mary, the local Tonkinese dealer in such trophies.
Lieutenant Joseph Cable, a handsome young Marine, arrives with an assignment to persuade de Becque, who is familiar with the nearby islands, to accompany him on a dangerous secret mission. Their task would be to hide out on a Japanese-held island, watch for enemy ships and convey this information to their own pilots, who would then use this first-hand intelligence to attack the Japanese convoys. Nellie's friendship with Emile is known to the Island Commander and she is asked to obtain all the information she can about the circumspect Frenchman.
Meanwhile, Luther Billis has a mission of his own—to get over to the mysterious and forbidden island of Bali Ha'i—and he convinces Lt. Cable to lead a pleasure-seeking expedition there. On the island, Bloody Mary introduces Cable to her beautiful daughter, Liat, and the Lieutenant falls in love with her.
Confused about her feelings for Emile, Nellie decides to play it safe and announces steadfastly "I'm gonna wash that man right outa my hair!" But Emile convinces her of his love, when he invites her to dinner at his home so that his friends may meet her, Nellie accepts and has a wonderful evening. Nellie is in love, and for the first time believes she and Emile could spend a wonderful lifetime together. Emile introduces her to two sweet native children, the off-spring of a Polynesian woman and a European. Nellie is charmed by the children but then, when Emile informs her that they are his, the prejudices and fear inherent in her mid-'50s, small town upbringing rise to the surface and, panicked, she runs from Emile and from the future they had just planned.
At the same time Joe Cable, despite his deep love for Liat, is caught is a similar trap of his own prejudices and, though he loves her, decides he cannot marry her.
Both Cable and Emile are feeling the recklessness of lost love, and with that recklessness comes the willingness to take greater risks. They embark on their spy mission to a neighboring island where, for a few days, the plan works and they are able to transmit messages of Japanese naval maneuverings. Eventually they are discovered, however; Cable is killed, and a radio contact with Emile is cut off.
Faced with the sudden realization that she may have lost Emile, Nellie is able to put her fears and meaningless prejudices into perspective and realizes that her love for him and the things he stands for is paramount. She makes her way to his home and is feed lunch to his two children, whom she loves as her own, when Emile returns. He is weary, he is battle-worn, but he is alive, reunited with his children, and with Nellie.
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David. Richard Rodgers. New York: Holt, 1957.
Ewen, David. With a Song in His Heart (Richard Rodgers). New York: Holt, Rinehart and Winston, 1963.
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II. New York: Random House, 1977; Decapo Press, 1995.
Green, Stanley. The Rodgers and Hammerstein Story. New York: John Day, 1963; Decapo Press (Paperback), 1980.
Green, Stanley. The Rodgers and Hammerstein Fact Book. Milwaukee: Hal Leonard, 1980.
Hammerstein II, Oscar. Lyrics. Introduction by the author, Preface by Stephen Sondheim. Milwaukee: Hal Leonard, 1985.
Logan, Joshua. Josh. New York: Delacorte Press, 1976.
Martin, Mary. My Hearts Belongs (Autobiography). New York: William Morrow & Co., Inc., 1976.
Michener, James A. Tales of the South Pacific. New York: Curtis Publishing House, 1946.
Michener, James A. James A. Michener Tells SOUTH PAFICIC. Illustrated by Michael Hague. New York: Harcourt brace Jovanovich, 1992.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.
Nolan, Frederick. The Sound of Their Music. New York: Walker, 1978; Applause Books, 2002.
Rodgers, Richard. Musical Stages: An Autobiography. New York: Random House, 1975; New York: Jove Paperback, 1978; DeCapo Press, 1995; (Revised Edition, 2002).
Taylor, Deems. Some Enchanted Evenings. New York: Harper, 1953.
Written By: Lincoln Center Theater
A series of wonderful articles and interviews compiled by Lincoln Center Theater.
Academy Awards (United States)January 01, 1958 — 3 Nominations for Best Sound, Color Cinematography, and Best Music (Scoring)
New York Drama Critics Circle Awards (United States)November 30, 1948 — Best Musical
Donaldson Awards (United States)January 01, 1950 — 9 Awards including Best Musical, Book, Lyrics and Score
Theatre World Awards (United States)November 30, 2007 — Loretta Ables Sayre
November 30, 2007 — Paulo Szot
Pulitzer Prize (United States)November 30, 1950 — Drama
Drama Desk Awards (United States)November 30, 2008 — Outstanding Actor in a Musical - Paulo Szot
November 30, 2008 — Outstanding Revival of a Musical
November 30, 2008 — Outstanding Director of a Musical - Bartlett Sher
November 30, 2008 — Outstanding Set Design - Michael Yeargan
November 30, 2008 — Outstanding Sound Design in a Play - Scott Lehrer
November 30, 2008 — Nominated for Outstanding Actress in a Musical - Kelli O'Hara
November 30, 2008 — Nominated for Outstanding Featured Actor - Danny Burstein
November 30, 2008 — Nominated for Outstanding Lighting Design - Donald Holder
Laurence Olivier Awards (London) (United States)November 30, 2002 — Nominated for The Hilton Award for Outstanding Musical Production
November 30, 2002 — Best Actor in a Musical or Entertainment - Philip Quast
Outer Critics Circle Awards (United States)November 30, 2007 — Outstanding Actor in a Musical - Paulo Szot
November 30, 2007 — Nominated for Outstanding Actress in a Musical - Kelli O'Hara
November 30, 2007 — Nominated for Outstanding Choreography - Christopher Gattelli
November 30, 2007 — Nominated for Outstanding Costume Design - Catherine Zuber
November 30, 2007 — Outstanding Director of a Musical - Bartlett Sher
November 30, 2007 — Outstanding Featured Actor in a Musical - Danny Burstein
November 30, 2007 — Outstanding Revival of a Musical
November 30, 2007 — Nominated for Outstanding Set Design - Michael Yeargan
Tony Awards (United States)November 30, 1949 — Best Scenic Designer - Jo Mielziner
November 30, 1950 — Best Actor (Musical) - Ezio Pinza
November 30, 1950 — Best Actor, Supporting or Featured (Musical) - Myron McCormick
November 30, 1950 — Best Actress (Musical) - Mary Martin
November 30, 1950 — Best Actress, Supporting or Featured (Musical) - Juanita Hall
November 30, 1950 — Best Director - Joshua Logan
November 30, 1950 — Best Libretto - Oscar Hammerstein II and Joshua Logan
November 30, 1950 — Best Producers (Musical) - Produced by Leland Hayward, Oscar Hammerstein II, Joshua Logan and Richard Rodgers.
November 30, 1950 — Best Score - Richard Rodgers
November 30, 2008 — Best Revival (Musical) - Producers: Lincoln Center Theater, André Bishop, Bernard Gersten, Bob Boyett
November 30, 2008 — Best Actor (Musical) - Paulo Szot
November 30, 2008 — Nominated for Best Actress (Musical) - Kelli O'Hara
November 30, 2008 — Nominated for Best Actor (Featured Role--Musical) - Danny Burstein
November 30, 2008 — Nominated for Actress (Featured Role--Musical) - Loretta Ables Sayre
November 30, 1950 — Best Musical - Music by Richard Rodgers, lyrics by Oscar Hammerstein II, book by Oscar Hammerstein II and Joshua Logan. Produced by Leland Hayward, Oscar Hammerstein II, Joshua Logan and Richard Rodgers,
Vocal Range of Characters:
// Photos
Notes on The Military
When SOUTH PACIFIC was first produced in 1949, audiences were largely familiar with the military aspects of the show. The farther World War II recedes into memory, however, the more unfamiliar the rankings, ratings, machinery, behavior, and feel of wartime military behavior become. By way of assistance we offer this brief guide to the military aspects of the show.
The characters in SOUTH PACIFIC have decidedly different ranks. Captain Brackett is the highest ranking officer, followed by Commander Harbison. They do not salute each other, but everyone else would salute either or both. When Captain Brackett and Commander Harbison first enter, however, [Act 1, Scene 3] the men pretend to be preoccupied and do not salute. This might bother the Captain if he weren't so furious at Bloody Mary as not to notice. Joe Cable is a Marine Lieutenant and, as such, merits a salute from the enlisted men which he would return with a salute. He would also salute Captain Brackett and Commander Harbison. When Cable first enters the men should rise to salute him, but Billis signals them to desist. Luther Billis is a sailor who bullies, bribes, and charms his way through military life, although ultimately he always loses. He has no respect for authority unless he is scared or wants something.
The enlisted men are rated, not ranked. The ratings are Sailors, Marines, and Seabees and differ by their functions in way. Sailors serve at sea, Marines are amphibious troops who serve both on ships and on land, and Seabees are sailors who serve in the Construction Battalion (hence their acronym, C.B.) and are responsible for the construction and maintenance of the bases and their equipment. As the action of SOUTH PACIFIC takes place one step removed from the battlefront, there is a decidedly casual aspect to the enlisted men. They are caught in a middle ground—not quite in the war, not quite out of the war.
As for equipment, a PBY was a slow but steady seaplane used mostly for reconnaissance. Jerry cans are large metal rectangular cans to hold gasoline or other liquids, frequently seen strapped to the sides of jeeps.
Boston Post
Written By: Oscar Hammerstein II
Who creates a play?
I become more and more convinced that no writer creates anything, and no good writer tries. He knows he is an agent of the world he lives in, the world of his time and of centuries before his time.
What and who created this one musical play? The libretto derives from a book, Tales of the South Pacific, a group of stories which won the Pulitzer Prize for fiction. How did James Michener 'create' these? Out of his head? Out of a typewriter? No. It seems he had a job in the Navy, a roving job that flew him back and forth among the islands of New Hebrides and New Guinea groups. In these journeys he met people and found them in situations partly created by a world war. I say partly created because their reactions to these situations were determined by their characters, and their characters were moulded by their immediate environments and heredities and the history of religion and science and poetry up to the time they were born. Michener took actualities and realities and fictionized them into a group of stories, some amusing, some deeply romantic.
Next step in 'creation': Leland Hayward thought these stories would make a good musical play. Next step: so did Rodgers and Hammerstein. For three months Dick Rodgers, Josh Logan and I wrote nothing. We struggled with the problem of selection. There were so many stories we liked. We couldn't use them all. We finally settled on two. We borrowed a few of our favorite characters from some of the other stories, and our next job was to combine all these into one coherent narrative. It took us a year to make this adaptation. We cannot, however, say that our work was the end of SOUTH PACIFIC's creation, for the theatre is a place of complex mass collaboration, and anyone who seeks to claim the sole credit for any play is a blind egomaniac.
This play emerged as the combined work of the composer, the authors, the director, the designers, the stars and their supporting cast, and many more who must be included as sources of creation. After all these had contributed their talents and energies, the final factor in creation was the audience. An audience must apply its composite heart and mind to a play, create it as something it believes should exist or destroy it as something it believes should not exist. So when the curtain rose on the opening night, the circle was complete.
This tale of the South Pacific, taken out of the living world and crystallized into theatrical form, was offered back to the living world for approval.
from 'How 'South Pacific' Was Written'
PDF Study guide from Lincoln Center Theater's production of SOUTH PACIFIC.
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- "My Girl Back Home" Orchestration (24 Books)
- 1 –
- 1 – PERCUSSION (Xylophone and Timpani)
- 1 – VIOLA (Divisi)
- 1 –
- 1 – Violin II
- 1 – Full Score
- 1 – Synth
- Rehearsal Set (22 Books)
- 20 – Libretto-Vocal Books
- 1 – Logo CD
- 2 – Piano Conductor Score
- Digital Logo
- Two Piano Arrangement (2 Act I, 2 Act II)
- 2 – TWO PIANO ARRANGEMENT - Act I
- 2 – TWO PIANO ARRANGEMENT - Act II
- SOUTH PACIFIC - Orchestra Package (22 Books/25-31 Players)
- 1 – Piano Conductor Score
- 1 – Flute (Doubling Piccolo)
- 1 – Oboe (Doubling English Horn)
- 1 – Clarinet I
- 1 – Clarinet II
- 1 – Clarinet II
- 1 – Bassoon
- 1 – Horn I
- 1 – Horn II
- 1 – Trumpet I
- 1 – Trumpet II
- 1 – Trumpet III
- 1 – Trombone I
- 1 – Trombone II
- 1 – Tuba
- 1 – Harp
- 1 – Percussion
- 1 – Violin I (Divisi)
- 1 – Violin II (Divisi)
- 1 – Viola (Divisi)
- 1 – Cello (Divisi)
- 1 – Bass
- Libretto/Vocal Books 10 pack
- 10 – Libretto-Vocal Books
- SOUTH PACIFIC - Full Score (1 Act I, 1 Act II)
- 1 – Full Score, Act I
- 1 – Full Score, Act II
- SOUTH PACIFIC - 1 Synthesizer String Book
- Transpositions are available on demand, please email [email protected] to request a transposition.
- South Pacific Flat Bundle
- 1 – Flat Banners
- 1 – Flat Facebook
- 1 – Flat print
- 1 – Flat Poster
- South Pacific Layered Bundle
- 1 – Layered Banners
- 1 – Layered Poster
- 1 – Layered Print
- 1 – Layered Facebook Tabs
2 Women
2 Men
1 Woman
5 Men
1 Boy
1 Girl
Large singing ensemble consisting of Islanders, Nuns, Officers, Sailors, Marines, and Soldiers
Ensign Nellie Forbush - a nurse from Arkansas
Emile De Becque - an expatriate French plantation owner
Ngana - his daughter
Jerome - his son
Henry - his native servant
Bloody Mary - a Tonkinese trader
Liat - her daughter
Bloody Mary's Assistant
Luther Billis
Stewpot (Carpenter's Mate Second Class, George Watts)
Lt. Joseph Cable, United States Marine Corps
Capt. George Brackett, United States Navy
Cmdr. William Harbison, United States Navy
Lt. Buzz Adams
Yeoman Herbert Quale - sailor
Radio Operator Bob McCaffrey - sailor
2 Seabees (originally named Morton Wise and Richard West)
2 Sailors (originally named Tom O'Brien and James Hayes)
3 Marines (Originally named Sgt. Kenneth Johnson, Cpl. Hamilton Steeves and Staff Sgt. Thomas Hassinger)
A Shore Patrolman
Lead Nurse (originally named Lt. Genevieve Marshall)
Ensign Dinah Murphy
Ensign Janet MacGregor
7 Ensigns (originally named Connie Walewska, Bessie Noonan, Rita Adams, Lisa Minelli, Pamela Whitmore, Sue Yaeger and Cora MacRae)
Islanders, Nuns, Officers, Sailors, Marines, and Soldiers
SOUTH PACIFIC takes place on two islands in the South Pacific during World War II.
The Terrace of Emile de Becque's Plantation Home
Another Part of the Island
The Edge of a Palm Grove Near the Beach
The Company Street
Inside the Island Commander's Office
The Beach
Inside a Native Hut on Bali Ha'i
Near the Beach on Bali Ha'i
A Performance of 'The Thanksgiving Follies'
Backstage at 'The Thanksgiving Follies'
The Radio Shack
Materials Notes
Featured Videos
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Media Rights
1. The Promotional Video shall be recorded and shown for the sole purposes of advertising your licensed production of the Play. For such a video, R&H allows theatres to film up to 10 minutes of total footage taken at either a performance or rehearsal (i.e.: 10 minutes of scripted moments.)
2. The Promotional Video may not include more than (i) 1 minute from any song or (ii) 3 minutes, in the aggregate, of footage of copyrighted material from the Play.
3. The Promotional Video may not include any sponsorship or underwriting without the prior consent of all R&H.
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ISLAMABAD (AP) — Pakistan's anti-corruption chief refused a Supreme Court order to arrest the prime minister in a graft case Thursday, citing a lack of evidence, in the latest clash between the government and the country's top court.
The arrest order issued Tuesday intensified the sense of political crisis in Pakistan, where a firebrand Muslim cleric has been leading thousands in an anti-government protest in the heart of the capital, Islamabad, for the past four days. The growing instability is likely a concern for the United States, which relies on Pakistan for help in its fight against Islamic militants and efforts to stabilize neighboring Afghanistan.
Fasih Bokhari, chief of the National Accountability Bureau, told the Supreme Court during a hearing that the initial investigation into the corruption case against Prime Minister Raja Pervaiz Ashraf and more than a dozen others was flawed and he needed more time to determine whether the premier should be arrested.
The case involves kickbacks that Ashraf allegedly took during his time as minister of water and power that were related to private power stations built to provide electricity to energy-starved Pakistan. The prime minister has denied the allegations.
The investigating officers "were not able to bring incriminating evidence but relied on oral statements which are not warranted in the court of law," said Bokhari, who was appointed to his post by President Asif Ali Zardari.
Chief Justice Iftikhar Chaudhry questioned why the anti-corruption chief needed more time since the case against the prime minister has been pending for about a year. He ordered Bokhari to bring the case files back to the judges later in the day so they can determine whether there is incriminating evidence. The anti-corruption chief pushed back, saying it would be difficult to bring the files in such a short time, but the chief justice insisted.
"There may be some who consider themselves above the law, but let me make it clear there is no one above the law," Chaudhry said.
Another judge, Sheikh Azmat Saeed, chided Bokhari, saying he was acting more like a defense lawyer than a government prosecutor.
The Supreme Court has clashed repeatedly with the government over the past year, especially over an old corruption case against Pakistan's president in Swiss court. Pakistan's Supreme Court convicted Ashraf's predecessor, Yousuf Raza Gilani, of contempt of court for refusing to reopen the case and ousted him from office.
The judges pressured Ashraf as well, and the government finally agreed to the court's demand to ask the Swiss to pursue the case – which Swiss authorities have said privately they have no intention of doing because Zardari enjoys immunity while in office.
Critics of the court have accused the chief justice of hounding the government because of bad blood between him and the president. Some have also suggested he is working in concert with Tahir-ul-Qadri, the cleric who has paralyzed key areas of Islamabad in recent days with his anti-government protest. Both men have denied the allegations.
Qadri has galvanized many Pakistanis with his message that the nation's politicians are corrupt thieves who care more about lining their pockets than dealing with the country's pressing problems, such as electricity shortages, high unemployment and deadly attacks by Islamic militants.
Thousands of Qadri's supporters remained camped out on the main avenue running through Islamabad for the fourth day Thursday after spending a chilly night wrapped in blankets on the street or sleeping in neat rows of tents set up to house the protesters. Heavy rain began falling at midday accompanied by thunder and lightning, testing the protesters' resolve.
Qadri is demanding the government be dissolved and replaced with a caretaker administration formed in consultation with the judiciary and the military. He also wants electoral reform to weed out corrupt politicians and prevent them from winning elections in the future.
The government has refused his demands, calling them unconstitutional. The cleric's critics accuse him of working with the country's powerful army to delay elections expected this spring. Qadri has denied the allegations.
The cleric delivered a new deadline of 3 p.m. for the government to comply with his demands. He said Thursday would be the last day of the protest but warned that the crowd would decide how to respond if the government failed to meet his demands.
"We gave a chance to law, we gave a chance to democracy, and now we are giving the last chance to peace," said Qadri, who spoke from inside his bulletproof container, sheltered from the driving rain.
Interior Minister Rehman Malik suggested Wednesday that the government would use force to remove the protesters if they didn't end their demonstration but backed off the threat after he was contradicted by the president.
Elsewhere in the country, army helicopters pounded three homes in a northwestern tribal region, killing two women and two children, said local resident Sajid Khan. The attack in Khasu Khel village in the North Waziristan tribal area also wounded six people.
It's unclear why the helicopters attacked the homes. North Waziristan is the main sanctuary for al-Qaida and Taliban militants in Pakistan.
Hundreds of villagers took the victims' bodies to one of the main towns in North Waziristan, Mir Ali, and displayed them on the road in protest, said Khan.
Pakistani intelligence officials confirmed helicopter shelling occurred earlier in the day in Khasu Khel, but could not confirm whether the women and children were killed in the attacks. The officials spoke on condition of anonymity because they were not authorized to talk to the media.
The protest comes on the heels of two similar demonstrations in Pakistan in recent days in which citizens angry about deadly attacks — one by Islamic militants and one allegedly by security forces — displayed the bodies of the dead and demanded justice. Islamic custom dictates the dead should be buried as soon possible.

subset: commoncrawl


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The recipe for puff pastry for sweet and salty baking. Puff pastry: a classic recipe and dishes from it This dough is considered almost the top of the confectionery art. But if you cook it according to all the rules, then it will certainly turn out — so much so that the purchase with it […]
Posts Tagged '#holiday meals'
Puff pastry: a classic recipe and dishes from it
Hamburger with grilled chicken and cheese
We cook a homemade hamburger with chopped chopped beef. 4 servings Ingredients bulb — 1 pc. garlic — 1 clove chopped beef — 600 g large tomato — 1 pc. buns for hamburgers — 4 pcs. tomato sauce — 4 tbsp. l. lettuce — 4 leaves
Sandwich with turkey and mozzarella
For 2 servings: 50 g of arugula 2 cloves of garlic 100 g of peeled walnuts 50 grams of hard cheese 80 ml of olive oil 8 slices of toast bread
Burger with fish and tender yoghurt sauce
For 2 servings: 4 slices of smoked ham or bacon 4 pieces of white fish fillets (150 g each) 4 tbsp. l. vegetable oil 1 fresh cucumber 1 stem of green onion 2 sprigs of dill
Pizza with spinach and eggs
An uncomplicated recipe for a delicious and nutritious morning snack. 6 servings Ingredients frozen puff yeast dough — 200 g spinach — 200 g champignons — 100 g hard cheese — 100 g bulb — 1 pc. garlic — 1 clove chili pepper — 1/2 pod


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One of the goals of the new strategic vision is to improve state CIOs' awareness of strategic information technology issues and solutions. Other goals include identifying and promoting leading practices and innovations to support, enable and transform the business of state government. Plus, organization leaders want to continue to share experiences and expertise among members.
Related coverage:
In hard times, state CIOs gain clout, survey finds
As guiding principles, NASCIO officers will:
"The NASCIO Executive Committee held a strategic planning session focused on the priorities and future vision of the association," said Dugan Petty, NASCIO president and Oregon CIO. "The new strategic plan reinforces the association's mission, vision and guiding principles and strengthens NASCIO's ability to support CIOs as state leaders." NASCIO relies on its strategic plan to guide the development of the annual business plan and supporting performance measurement. Strategic initiatives to be addressed are determined by the Executive Committee after assessing state members' priorities, as well as emerging national trends and issues.
A NASCIO survey issued October 2011 indicated that state CIOs' influence is on the rise as state governments turn to them to help bring order during a time of economic upheaval. Consolidation and shared services were top priorities for many of the CIOs surveyed.
The complete strategic plan is available here.
About the Author
Rutrell Yasin is is a freelance technology writer for GCN.
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Long Ear Owl with Chicadee
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How to kill boredom during travelling in the travel category. A large number of interesting tours and travel around the world. You can view and download a large number of the best selected photos and images from around the web in comfort. Especially for you we have divided all the pictures by the most popular categories, so you can easily find the photos you need and pictures.
Views: 466Date: 4 NovemberSource: www.aspirantsg.comOpen in full sizeDownload


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A Northern California man is founding a group based on a radical premise: He's a father who smokes marijuana -- and that's ok.
Mickey Martin has begun "Parents4Pot," which strives to prove that cannabis users can be responsible and functional members of society -- as well as marijuana smokers, according to SF Weekly.
Parents, he says, are made more fearful for using marijuana than other members of society. The fact that marijuana use can be used as a factor to remove children from their parents via child protective services and custody battles doesn't help.
"I believe there is a powerful message to be shared from parents who use cannabis, and parents of adult children who use cannabis who have been afflicted by this insane prohibition," he told the newspaper. "I hope Parents 4 Pot can serve as a vehicle to propel that voice."


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@ ocinside.deOCinside.de already tested several CPU coolers and today we published a large cooler comparison chart with HSFs from Alpenfoehn, Antec, Arctic Cooling, Cooler Master, Prolimatech, Revoltec and Xigmatek. The new comparison contains some heatsinks with different fans and varied fan speeds. So you can easily compare dozens of cooling results to find the right CPU cooler for your PC.
Thursday Web Reviews:
Corsair Dominator Platinum PC3-21300 16GB Memory Kit Review
MDSSD TweakTown Chris Ramseyer Signature Edition by SuperSSpeed 128GB SLC SSD Review
Arctic Accelero Hybrid 7970 Cooler Review @ OCC
AMD Trinity APU A10-5800K & A8-5600K Preview
Biostar Hi-Fi Z77X Intel ATX Motherboard @ Benchmark Reviews
ADATA XPG Xtreme Series 8GB DDR3-2133X Memory Kit @ Hi Tech Legion
MSI FM2-A85XA-G65 (A85X) Motherboard Preview @ eTeknix.com
Kingston DataTraveler Locker+ G2 16GB USB Drive Review @ Neoseeker
Enermax MaxREVO 1500-watt 80 PLUS Gold Power Supply Review
OCZ Synapse 64GB Solid State Cache Review @ eTeknix.com
Ebode BT Sound BTR30 Universal Bluetooth Receiver Review @ Madshrimps


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NATO's Much Unloved Headquarters
NATO diplomats are set to move into their new headquarters outside Brussels in 2016, but in the meantime they have to stay in their old, much unloved building. With parakeets roosting in the parking lot and rabbits running wild, Stephen Fidler looks at why the move cannot come soon enough.
This transcript has been automatically generated and may not be 100% accurate.
I ... he makes the unity should be ... let's moldy books ... and more ready than us ... and also Atlantic Treaty Organization moved into its headquarters on the outskirts of Brussels in nineteen sixty seven ... in a very ... the organization was ousted by President shoulder goal from Elliott and offices in Paris ... the move into buildings constructed in just eight months ... on the size of an airfield used by the German mobile phone ... in World War two ... it was in a tasteful ... and its moons Don't Love Levi fall stuff called it a little sewing area ... but at least they knew it was only a temporary fix ... up just five years they fall they would be moving into luxurious offices elsewhere in the Belgian capital ... forty six says Lisa ... this tool that ... and the buildings have gotten a trip to the ... home of country NATO's other than a dozen new members since the end of the cold will ... to accommodate them a bunch of folksy prefabricated buildings being constructed and talking is being tempered accommodation for so long ... doesn't come without problems ... make that stuff as well on the site around its caps and three parakeets ... that it may decide that permanent home ... ready to fire is threatening to undermine the buildings while living in the rain holds our special pain ... expats called in to trap them and release them into the countryside ... but they keep coming back ... in twenty sixteen the alliance's why he used to move into a ... spectacular new billion dollar building across the road ... excluding options of Boston steel


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Tag Archives: Cy Young
Mike Trout looking to lead Angels to Playoff Berth
July has been a great month for the twenty year old Mike Trout, he's hitting .419 with seven homers, 14 rbi's, and eight stolen bases. While the Angels are just 8-8 in July theyre showing improvements and are now just five games behind the Texas Rangers in the AL West, and are currently leading the Wild Card race at 51-43. The Los Angeles Angels of Anaheim have won 36 of their last 58 games after just starting out 15-21, and Mike Trouts' call up has been a big part of the turnaround.
The twenty year old Trout is currently leading the American League with a .354 average, although he was just called up on April 28th he is running away with Rookie of the Year honors and his name has come up when talking about possible MVP candidates. Since coming on the scene he has bashed 15 homers, and has 46 rbi's in just 72 games this season. With the Texas Rangers struggling as of late the Angels have been able to make up some ground and are in position to make a run in the second half. With the surge of his supporting cast, including marked improvements from Albert Pujols in the last couple months and Mark Trumbo bing an unexpected power source, they have what it takes to possibly take the division from the back to back AL pennant winners. Trumbo is hitting .307 with 66 rbi's and 27 homers this season, good for the third most long balls in the majors trailing only Adam Dunn and Josh Hamilton. Pujols has turned around his season after his worst start of his career, bringing his avg up to .281 as of late, his power has returned as well, 3three in the last week and 17 on the year. Things are looking u for this offense, as all three of their major guys are hitting on all cylinders.
While the Angels are averaging over six runs a game over their last six games the pitching is beginning to come together as well. Jered Weaver is having another great year, posting a 12-1 record and a 2.20 ERA, which is good for second in the American League behind the White Sox Chris Sale's 2.11 ERA. One of the favorites to win the AL Cy Young no doubt. They have found a solid closer in Ernesto Frieri, who has been lights out since earning the spot as closer. He has converted all eleven of his save opportunities to this point and is posting a 1.38 ERA to date, with 65 strikeouts in just 39 innings. Sometimes in sports the best team does not win, but merely the one playing the best at the time that it matters the most, the Angels appear to be peaking at the right time as we head down the stretch. Things are starting to come together and with twelve games remaining in the Angels Schedule against the division leading Texas Rangers the Angels will have ample chances to prove they're the best team in the AL West.


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Rosuvastatin in Treating Patients With Stage I or Stage II Colon Cancer That Was Removed By Surgery
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01011478
Recruitment Status : Terminated
First Posted : November 11, 2009
Last Update Posted : April 11, 2016
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
RATIONALE: Rosuvastatin may stop the growth of tumor cells by blocking some of the enzymes needed for cell growth. Giving rosuvastatin after surgery may kill any tumor cells that remain after surgery. It may also keep polyps from forming or colon cancer from coming back. It is not yet known whether rosuvastatin is more effective than a placebo in treating colon cancer that was removed by surgery.
PURPOSE: This randomized phase III trial is studying rosuvastatin to see how well it works compared with placebo in treating patients with stage I or stage II colon cancer that was removed by surgery.
|Condition or disease
|Colorectal Cancer Precancerous Condition
|Drug: rosuvastatin Other: placebo
|Phase 3
- To compare the effect of rosuvastatin vs placebo on the 5-year occurrence of adenomatous polyps of the colon or rectum, metachronous colorectal carcinoma, or colon cancer recurrence (APMC+R) in patients with resected stage I or II colon cancer.
- To determine whether the effect of rosuvastatin vs placebo is of the same magnitude in patients taking aspirin (regardless of dose) compared to patients not taking aspirin.
- To determine whether taking aspirin (regardless of dose) vs no aspirin will decrease the occurrence or APMC+R and, if there is an effect, to explore the relationship to dose.
- To determine the effect of rosuvastatin in patients with familial colorectal cancer.
- To determine the effect of rosuvastatin in patients with microsatellite unstable tumors (i.e., tumors displaying loss of MLH1 or MSH2 expression by IHC).
- To determine the relationship between rosuvastatin therapy and features of colorectal adenomas as well as the size and number of colorectal adenomas.
- To compare the time to APMC+R in patients treated with rosuvastatin vs placebo.
- To compare the disease-free survival of patients treated with rosuvastatin vs placebo.
- To compare the overall survival of patients treated with rosuvastatin vs placebo.
- To compare the rate of recurrence of colon cancer in patients treated with rosuvastatin vs placebo.
- To compare the rate of second non-colorectal primary cancers in patients treated with rosuvastatin vs placebo.
- To determine the effect of rosuvastatin on health-related quality of life, global quality of life, and self-reported symptoms.
- To compare the incidence and severity of adverse events associated with rosuvastatin vs placebo.
- To assess relevant tumor and blood markers that may affect the metabolism, activity, or effect of the study drugs, such as HMG-CoA reductase, UGT1A6, P450-2C9, PTGS2 (COX-2), and other possible markers.
OUTLINE: This is a multicenter study. Patients are stratified according to family history of a first-degree relative with colorectal cancer (yes vs no), intended aspirin dose (none vs 81 mg vs 325 mg), and adjuvant therapy for colon cancer (yes vs no). Patients are randomized to 1 of 2 treatment arms.
- Group 1: Patients receive oral placebo once daily for 5 years.
- Group 2: Patients receive oral rosuvastatin once daily for 5 years.
Patients may complete a quality-of-life questionnaire at baseline and at 6, 12, 36, 60, and 84 months.
Tumor tissue, serum, and blood samples may be collected periodically for biomarker and other analyses.
After completion of study treatment, patients are followed up periodically for up to 2 years.
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|406 participants
|Intervention Model:
|Parallel Assignment
|Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
|Primary Purpose:
|Official Title:
|Statin Polyp Prevention Trial in Patients With Resected Colon Cancer
|Study Start Date :
|March 2010
|Actual Primary Completion Date :
|December 2014
|Actual Study Completion Date :
|February 2015
Placebo Comparator: Group 1: placebo
Patients receive oral placebo once daily for 5 years.
Other: placebo
Experimental: Group 2: rosuvastatin
Patients receive oral rosuvastatin once daily for 5 years.
Drug: rosuvastatin
Other Name: Crestor
- Occurrence of ≥ 1 adenomatous polyp of the colon or rectum, metachronous colorectal carcinoma, or colon cancer recurrence (APMC+R) [ Time Frame: From start of study through 5 years ]
- Size, number, and features of colorectal adenomas, including advanced adenomas [ Time Frame: From start of study through 7 years ]
- Disease -free survival [ Time Frame: Time from randomization to colon cancer recurrence,second primary cancer, or death from any cause through 7 years ]
- Overall Survival: Time from randomization to death from any cause [ Time Frame: Time from randomization to death from any cause through 7 years ]
- Recurrence-free interval: Time from randomization to first recurrence of colon cancer [ Time Frame: Time from randomization to first recurrence of colon cancer through 7 years ]
- Second non-colorectal primary cancer-free interval [ Time Frame: Time from randomization to first occurrence of non-colorectal primary cancer through 7 years ]
- Behavioral and Health Outcomes as measured by SF-12 component scores, global quality-of-life scale, and symptom checklist [ Time Frame: Assessed at 6, 12, 36, 60, and 84 months ]
- Occurrence and grade of reported toxicities [ Time Frame: From start of study through 7 years ]
- Measurements of relevant tumor and blood markers [ Time Frame: Samples collected at start of study ]
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years and older (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria
- Patients must have an Eastern Cooperative Oncology Group (ECOG) performance status of 0 or 1.
- Patients must have the ability to swallow oral medication.
- Patients must have resected adenocarcinoma of the colon staged as American Joint Committee on Cancer (AJCC) Stage 0, I, II, or III.
- Patients must have had surgical resection of the colon adenocarcinoma with curative intent within 1 year prior to randomization. (Laparoscopically-assisted colectomy is permitted.)
- Patients must have completed any adjuvant therapy prior to randomization.
- Patients who are taking cardioprotective low-dose aspirin at study entry must not have clinically significant toxicity, as determined by the investigator, that precludes continuation of aspirin, and the patient must be willing to continue aspirin therapy (81 mg or 325 mg) throughout study therapy.
- Colonoscopy requirements within 180 days prior to randomization:
- The patient must have either undergone a preoperative or postoperative documented colonoscopy to the cecum (or small bowel anastomosis) with adequate bowel preparation.
- All observed polyps must have been removed. (Polyps can be removed during colonoscopy or surgery performed prior to randomization.)
- Postoperative serum creatinine performed within 90 days prior to randomization must be less than or equal to 1.5 x upper limit of normal (ULN) for the lab.
- The following criteria for evidence of adequate hepatic function based on postoperative testing performed within 90 days prior to randomization must be met: aspartate aminotransferase (AST) or alanine aminotransferase (ALT) less than or equal to 3.0 x ULN for the lab, and Total bilirubin less than or equal to 1.5 x ULN for the lab
Exclusion Criteria
- Tumor with the distal border located less than 12 cm from the anal verge.
- Total colectomy or total proctocolectomy.
- Classic Familial Adenomatous Polyposis, Attenuated Familial Adenomatous Polyposis (i.e., 20 or more adenomas, either synchronous or metachronous), or Hereditary Nonpolyposis Colorectal Cancer (Lynch Syndrome).
- Malabsorption syndrome, ulcerative colitis, inflammatory bowel disease, resection of the stomach or small bowel, or other disease significantly affecting gastrointestinal function.
- History of documented upper GI bleeding or upper GI ulcerative disease.
- Statin use within 30 days prior to randomization.
- Hyperlipidemia with clinical indication for statin therapy or other prescribed medication. Determination of acceptable fasting lipid values, within 90 days prior to randomization, should be in accordance with current dyslipidemia management guidelines.
- Unwillingness to discontinue chronic use of nonsteroidal antiinflammatory drugs (NSAIDs) (other than cardioprotective low-dose aspirin 81 mg or 325 mg) prior to randomization.
- Anticipated need for chronic use of NSAIDs (other than cardioprotective low-dose aspirin 81 mg or 325 mg).
- Inadequately treated hypothyroidism, as determined by the investigator.
- History of myopathy or rhabdomyolysis.
- Hypersensitivity or intolerance to statins.
- Chronic drug therapy with cyclosporine, coumarin anticoagulants, gemfibrozil, some other lipid-lowering therapies (fibrates or niacin), lopinavir/ritonavir, or drugs (such as ketoconazole, spironolactone, or cimetidine) that lower levels or activity of steroid hormones.
- Pregnancy or lactation at the time of study entry. (Pregnancy testing must be performed within 14 days prior to randomization according to institutional standards for women of childbearing potential.)
- Previous malignancies unless the patient has been disease-free for 5 or more years prior to randomization and is deemed by the physician to be at low risk for recurrence. Patients with the following cancers are eligible if diagnosed and treated within the past 5 years: all in situ cancers and basal cell and squamous cell carcinoma of the skin.
- Other non-malignant systemic disease that would preclude a patient from receiving rosuvastatin or would prevent prolonged follow-up.
- Administration of any investigational agent within 30 days before randomization.
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01011478
Show 587 Study Locations
|Principal Investigator:
|Norman Wolmark, MD
|NSABP Foundation Inc
Publications of Results:
|Responsible Party:
|NSABP Foundation Inc
|ClinicalTrials.gov Identifier:
|NCT01011478 History of Changes
|Other Study ID Numbers:
NCI-2011-09183 ( Registry Identifier: CTRP (Clinical Trials Reporting Program) )
|First Posted:
|November 11, 2009 Key Record Dates
|Last Update Posted:
|April 11, 2016
|Last Verified:
|April 2016
adenomatous polyp
stage I colon cancer
stage II colon cancer
adenocarcinoma of the colon
Colonic Neoplasms
Colorectal Neoplasms
Intestinal Neoplasms
Gastrointestinal Neoplasms
Digestive System Neoplasms
Neoplasms by Site
Colonic Diseases
Precancerous Conditions
Digestive System Diseases
Gastrointestinal Diseases
Intestinal Diseases
Rosuvastatin Calcium
Anticholesteremic Agents
Hypolipidemic Agents
Molecular Mechanisms of Pharmacological Action
Lipid Regulating Agents
Hydroxymethylglutaryl-CoA Reductase Inhibitors
Enzyme Inhibitors


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It's next to impossible to check the time on your watch when bundled up for winter activities—not to mention the unpleasantness of baring your arms in sub-zero temperatures when pulling up your sleeves. So Dietrich's ED01 watch is specifically designed to be worn on the outside of your winterwear, using a set of stretchy elastic straps.
It's of course completely waterproof, and will keep on ticking even in freezing temperatures. And while its bright neon green finish might only blend with gear designed for the snowboarding set, it makes the ED01's over-sized hands and simple face easier to read when the snow picks up or the fog sets in. [Dietrich via The Awesomer]


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Up and coming streaming box company Boxee isn't content sitting next to your TV. Instead, it's firing up an initiative to get inside your TV by offering an embeddable option to manufacturers.
The scheme will see Boxee partnering with chip provider Sigma to allow TV manufacturers to embed Boxee's cloud-based live TV, DVR and streaming apps inside their sets. Boxee is seemingly hoping that by offering a pre-designed system, TV manufacturers will be wooed away from developing their own smart systems.
Nice idea, but similar-ish concepts haven't worked in the past. (Ahem, Google TV.) Also, despite the fact that Boxee is a cloud-based system, it's not clear what the route for upgrading Boxee would be over time: TVs last, streaming boxes don't. Still, a nice idea if it can be made to work — we'll just have to see how it plays out. [Market Wire via TNW via The Verge]


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Calvin's commentaries (Old Testament) for BW is available at the following address:
Again this is the result of the hard work and great effort of mr Willem Swanepoel of Krugersdorp in Sout Africa. And this really was a hard work. Great thanks to Willem.
He is already busy with the commentaries on the New Testament.
Enjoy it!
In Christ,
Attie Bogaards


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TUSCALOOSA | It's been more than two years since the deadly tornado of April 2011 all but erased the Cedar Crest neighborhood from the city landscape. Now, the area is poised to return with a 257,000-square-foot shopping center.
TUSCALOOSA | It's been more than two years since the deadly tornado of April 2011 all but erased the Cedar Crest neighborhood from the city landscape.
Now, the area is poised to return with a 257,000-square-foot shopping center.
According to a proposed site map unveiled at last week's meeting of the city Planning and Zoning Commission, the project that is now called "Tidal Town" consists of a series of commercial structures, some of which are two stories, along with a parking deck surrounding a large, spacious parking lot. The development is bordered by McFarland Boulevard to the east, Dr. Edward Hillard Drive to the west and 13th Street East to the north and would be a neighbor to the new Krispy Kreme.
Alumni Development & Construction LLC of Maylene, and the land owner, Tuscaloosa-based H.A. Edwards Inc., are not yet responding to direct inquiries on the project, so there is not yet word on which retailers might occupy the buildings, the estimated investment or the possible construction timeline.
However, officials associated with the development said between six and eight stores and restaurants that are new to the Tuscaloosa market are expected to be part of the shopping center.
"I believe they do have several actually lined up and ready to go," said Philip O'Leary, the city's deputy director of planning and development services.
The project was publicly unveiled when it went before the Planning and Zoning Commission last week to seek approval on converting the multiple lots in the now 14.25-acre tract into one large parcel. The developers also asked the city to vacate portions of 14th Street East and 13th Place East that run through the proposed site.
The requests met no resistance from the commission, which voted to allow the lot conversion and recommended to the City Council that the streets be vacated.
The City Council is expected to vote on the recommendation on Tuesday.
The project was slated to go before the Zoning Board of Adjustment on Wednesday for the consideration of 12 variances from city zoning requirements, but officials said this appearance will be delayed until next month because the developers have acquired approximately two additional acres. Whenever the project does, however, go before the ZBA, the developers will likely be seeking permission to deviate from rules on parking requirements, pedestrian access and building setbacks.
Jim Page, president and CEO of the Chamber of Commerce of West Alabama, said the chamber has been working with H.A. Edwards and Alumni Development & Construction for the past several months to bring the project to fruition and was impressed with their attention to the wishes of Tuscaloosa area residents and shoppers.
"We're very excited," he said. "That's a great piece of property. And because of it's proximity to McFarland (Boulevard) and 15th (Street), that's as prime a piece of real estate as anywhere in West Alabama. ...
"They really tried to do their homework and due diligence and approach it in a smart, methodical way. A development of this magnitude takes a lot of work. There's a lot of moving parts."
Page said he hopes the project can fill some holes in the Tuscaloosa area's retail market and allow local residents to shop here instead other cities.
"We're still under-served in terms of retail, so any retail we can add to that corridor is a good thing," he said.
Reach Jason Morton at firstname.lastname@example.com or 205-722-0200.


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ConnecThing.io is an IOT Platform sold through the Solution Provider and IT/OT Channel only.
The core of the platform is the multi award winning IOT AEP middleware by Davra Networks but it is our partner ecosystem that makes ConnecThing.io one of the leading IOT Platforms as recognised by No.1 IT Partner Channel News Network CRN.
Join Our Partner Programs
|Solution Provider Partners
|Vendor Partner Program
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Smart Cities
Smart Cities is one of the most exciting IOT verticals but also one of the most misunderstood. Real IOT Smart Cities entails new connected services and things driven by LPWAN (LoRa, Sigfox) and upcoming 5G Narrowband. It does not include Transportation, Healthcare and Metering services within a city as qouted by some analysts. Below we showcase some of the latest and most innovative Smart Cities devices and IOT Solutions.Facts: CAGR: 17% - TAM $195B by 2020
Featured Products in Smart Cities
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Around Maui
Tour the Baldwin Home by candlelight
12-13 Step back in time and visit the Baldwin Home Museum with a tour by candle light. Lahaina Restoration Foundation tours will be held Fridays from 6 to 8:30 p.m. The Baldwin Home Museum is located on the corner of Front and Dickenson streets in Lahain. more »»
Hula shows set
12-13 Free hula shows are held daily from 6:30 to 7:30 p.m. at Kaanapali Beach Hotel. Hawaiian music is played from 6 to 9 p.m. Call 661-0011. more »»
Meet Maui artists
12-13 Meet some of Maui's top artists, chat and enjoy wine every Friday from 6:30 to 9:30 p.m. at Lahaina Galleries, 828 Front St. Marcello and Alessio Bugagiar, Dario Campanile, Ronaldo Macedo, Sue Perry and Dale Zarrella are among the featured artists. Call 667-7095 or visit www. more »»
Protect Maui's reefs
12-13 Pacific Whale Foundation runs a free Coral Reef Information Station every Monday through Friday from 8 a.m. to noon at Wailea's Ulua Beach. Learn names of fish you've seen while snorkeling and how to protect Maui's reefs. Call 249-8811, extension 1. more »»
Mall hosts free hula, events
12-13 LAHAINA — At Lahaina Cannery Mall every Tuesday and Thursday, free Polynesian Performances Hula Shows are held at 7 p.m. Every Saturday and Sunday, free Keiki Hula Shows start at 1 p.m. Maui Toy Works holds Yu-Gi-Oh card sessions from 3 to 5 p.. more »»
Cruise with Marty Dread
12-13 MAALAEA — Join Pacific Whale Foundation for a very special sunset cocktail cruise every Friday evening from 5 to 7 p.m. from Maalaea Harbor. Enjoy live music, cocktails and appetizers with host Marty Dread, local Reggae sensation. Call 249-8811, extension 1, or reserve online at http://www. more »»
Farmers' Markets held in Lahaina
12-13 LAHAINA — Green Dragon Markets holds Farmers Market Food-Craft Fairs Tuesdays, Wednesdays and Fridays from 7 a.m. to 4 p.m. at Kahului Shopping Center, and Wednesdays and Saturdays from 7 a.m. to 4 p.m. at the 505 Front Street Shops. Vendors are welcome; call (808) 333-2478. more »»
View Events by Day
Around Maui


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Introduction To Function Point Analysis
Software systems, unless they are thoroughly understood, can be like an ice berg. They are becoming more and more difficult to understand. Improvement of coding tools allows software developers to produce large amounts of software to meet an ever expanding need from users. As systems grow a method to understand and communicate size needs to be used. Function Point Analysis is a structured technique of problem solving. It is a method to break systems into smaller components, so they can be better understood and analyzed.
Function points are a unit measure for software much like an hour is to measuring time, miles are to measuring distance or Celsius is to measuring temperature. Function Points are an ordinal measure much like other measures such as kilometers, Fahrenheit, hours, so on and so forth
Reboot! - The Book
Reboot! Free Online Book - http://www.RebootRethink.Com - It is time to Reboot, Rethink and Restart Software Development.
Function Point Training
Online FunctionPoint Training course
Human beings solve problems by breaking them into smaller understandable pieces. Problems that may appear to be difficult are simple once they are broken into smaller parts -- dissected into classes. Classifying things, placing them in this or that category, is a familiar process. Everyone does it at one time or another -- shopkeepers when they take stock of what is on their shelves, librarians when they catalog books, secretaries when they file letters or documents. When objects to be classified are the contents of systems, a set of definitions and rules must be used to place these objects into the appropriate category, a scheme of classification. Function Point Analysis is a structured technique of classifying components of a system. It is a method to break systems into smaller components, so they can be better understood and analyzed. It provides a structured technique for problem solving.
In the world of Function Point Analysis, systems are divided into five large classes and general system characteristics. The first three classes or components are External Inputs, External Outputs and External Inquires each of these components transact against files therefore they are called transactions. The next two Internal Logical Files and External Interface Files are where data is stored that is combined to form logical information. The general system characteristics assess the general functionality of the system.
Brief History
Function Point Analysis was developed first by Allan J. Albrecht in the mid 1970s. It was an attempt to overcome difficulties associated with lines of code as a measure of software size, and to assist in developing a mechanism to predict effort associated with software development. The method was first published in 1979, then later in 1983 . In 1984 Albrecht refined the method and since 1986, when the International Function Point User Group (IFPUG) was set up, several versions of the Function Point Counting Practices Manual have been published by IFPUG. The current version of the IFPUG Manual is 4.1. A full function point training manual can be downloaded from this website.
Objectives of Function Point Analysis
Frequently the term end user or user is used without specifying what is meant. In this case, the user is a sophisticated user. Someone that would understand the system from a functional perspective --- more than likely someone that would provide requirements or does acceptance testing.
Since Function Points measures systems from a functional perspective they are independent of technology. Regardless of language, development method, or hardware platform used, the number of function points for a system will remain constant. The only variable is the amount of effort needed to deliver a given set of function points; therefore, Function Point Analysis can be used to determine whether a tool, an environment, a language is more productive compared with others within an organization or among organizations. This is a critical point and one of the greatest values of Function Point Analysis.
Function Point Analysis can provide a mechanism to track and monitor scope creep. Function Point Counts at the end of requirements, analysis, design, code, testing and implementation can be compared. The function point count at the end of requirements and/or designs can be compared to function points actually delivered. If the project has grown, there has been scope creep. The amount of growth is an indication of how well requirements were gathered by and/or communicated to the project team. If the amount of growth of projects declines over time it is a natural assumption that communication with the user has improved.
Characteristic of Quality Function Point Analysis
Function Point Analysis should be performed by trained and experienced personnel. If Function Point Analysis is conducted by untrained personnel, it is reasonable to assume the analysis will done incorrectly. The personnel counting function points should utilize the most current version of the Function Point Counting Practices Manual,
Current application documentation should be utilized to complete a function point count. For example, screen formats, report layouts, listing of interfaces with other systems and between systems, logical and/or preliminary physical data models will all assist in Function Points Analysis.
The task of counting function points should be included as part of the overall project plan. That is, counting function points should be scheduled and planned. The first function point count should be developed to provide sizing used for estimating.
The Five Major Components
Since it is common for computer systems to interact with other computer systems, a boundary must be drawn around each system to be measured prior to classifying components. This boundary must be drawn according to the users point of view. In short, the boundary indicates the border between the project or application being measured and the external applications or user domain. Once the border has been established, components can be classified, ranked and tallied.
External Inputs (EI) - is an elementary process in which data crosses the boundary from outside to inside. This data may come from a data input screen or another application. The data may be used to maintain one or more internal logical files. The data can be either control information or business information. If the data is control information it does not have to update an internal logical file. The graphic represents a simple EI that updates 2 ILF's (FTR's).
.Please check out the online self paced function point training.
External Outputs (EO) - an elementary process in which derived data passes across the boundary from inside to outside. Additionally, an EO may update an ILF. The data creates reports or output files sent to other applications. These reports and files are created from one or more internal logical files and external interface file. The following graphic represents on EO with 2 FTR's there is derived information (green) that has been derived from the ILF's
External Inquiry (EQ) - an elementary process with both input and output components that result in data retrieval from one or more internal logical files and external interface files. The input process does not update any Internal Logical Files, and the output side does not contain derived data. The graphic below represents an EQ with two ILF's and no derived data.
Internal Logical Files (ILFs) - a user identifiable group of logically related data that resides entirely within the applications boundary and is maintained through external inputs.
External Interface Files (EIFs) - a user identifiable group of logically related data that is used for reference purposes only. The data resides entirely outside the application and is maintained by another application. The external interface file is an internal logical file for another application.
After the components have been classified as one of the five major components (EIs, EOs, EQs, ILFs or EIFs), a ranking of low, average or high is assigned. For transactions (EIs, EOs, EQs) the ranking is based upon the number of files updated or referenced (FTRs) and the number of data element types (DETs). For both ILFs and EIFs files the ranking is based upon record element types (RETs) and data element types (DETs). A record element type is a user recognizable subgroup of data elements within an ILF or EIF. A data element type is a unique user recognizable, non recursive, field.
Each of the following tables assists in the ranking process (the numerical rating is in parentheses). For example, an EI that references or updates 2 File Types Referenced (FTRs) and has 7 data elements would be assigned a ranking of average and associated rating of 4. Where FTRs are the combined number of Internal Logical Files (ILFs) referenced or updated and External Interface Files referenced.
EI Table
Shared EO and EQ Table
Values for transactions
Like all components, EQ's are rated and scored. Basically, an EQ is rated (Low, Average or High) like an EO, but assigned a value like and EI. The rating is based upon the total number of unique (combined unique input and out sides) data elements (DET's) and the file types referenced (FTR's) (combined unique input and output sides). If the same FTR is used on both the input and output side, then it is counted only one time. If the same DET is used on both the input and output side, then it is only counted one time.
For both ILFs and EIFs the number of record element types and the number of data elements types are used to determine a ranking of low, average or high. A Record Element Type is a user recognizable subgroup of data elements within an ILF or EIF. A Data Element Type (DET) is a unique user recognizable, non recursive field on an ILF or EIF.
The counts for each level of complexity for each type of component can be entered into a table such as the following one. Each count is multiplied by the numerical rating shown to determine the rated value. The rated values on each row are summed across the table, giving a total value for each type of component. These totals are then summed across the table, giving a total value for each type of component. These totals are then summoned down to arrive at the Total Number of Unadjusted Function Points.
The value adjustment factor (VAF) is based on 14 general system characteristics (GSC's) that rate the general functionality of the application being counted. Each characteristic has associated descriptions that help determine the degrees of influence of the characteristics. The degrees of influence range on a scale of zero to five, from no influence to strong influence. The IFPUG Counting Practices Manual provides detailed evaluation criteria for each of the GSC'S, the table below is intended to provide an overview of each GSC.
|General System Characteristic
Brief Description
|Data communications
|How many communication facilities are there to aid in the transfer or exchange of information with the application or system?
|Distributed data processing
|How are distributed data and processing functions handled?
|Was response time or throughput required by the user?
|Heavily used configuration
|How heavily used is the current hardware platform where the application will be executed?
|Transaction rate
|How frequently are transactions executed daily, weekly, monthly, etc.?
|On-Line data entry
|What percentage of the information is entered On-Line?
|End-user efficiency
|Was the application designed for end-user efficiency?
|On-Line update
|How many ILFs are updated by On-Line transaction?
|Complex processing
|Does the application have extensive logical or mathematical processing?
|Was the application developed to meet one or many users needs?
|Installation ease
|How difficult is conversion and installation?
|Operational ease
|How effective and/or automated are start-up, back-up, and recovery procedures?
|Multiple sites
|Was the application specifically designed, developed, and supported to be installed at multiple sites for multiple organizations?
|Facilitate change
|Was the application specifically designed, developed, and supported to facilitate change?
Once all the 14 GSCs have been answered, they should be tabulated using the IFPUG Value Adjustment Equation (VAF) --
14 where: Ci = degree of influence for each General System Characteristic
VAF = 0.65 + [ (Ci) / 100] .i = is from 1 to 14 representing each GSC.
i =1 å = is summation of all 14 GSCs.
The final Function Point Count is obtained by multiplying the VAF times the Unadjusted Function Point (UAF).
Summary of benefits of Function Point Analysis
Function Points can be used to size software applications accurately. Sizing is an important component in determining productivity (outputs/inputs).
They can be counted by different people, at different times, to obtain the same measure within a reasonable margin of error.
Function Points are easily understood by the non technical user. This helps communicate sizing information to a user or customer.
Function Points can be used to determine whether a tool, a language, an environment, is more productive when compared with others.
For a more complete list of uses and benefits of FP please see the online article on Using Function Points.
Accurately predicting the size of software has plagued the software industry for over 45 years. Function Points are becoming widely accepted as the standard metric for measuring software size. Now that Function Points have made adequate sizing possible, it can now be anticipated that the overall rate of progress in software productivity and software quality will improve. Understanding software size is the key to understanding both productivity and quality. Without a reliable sizing metric relative changes in productivity (Function Points per Work Month) or relative changes in quality (Defects per Function Point) can not be calculated. If relative changes in productivity and quality can be calculated and plotted over time, then focus can be put upon an organizations strengths and weaknesses. Most important, any attempt to correct weaknesses can be measured for effectiveness.
Online Function Point Training.


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The Independent Qt Tutorial
I have started writing a gentle introduction to Qt called The Independent Qt Tutorial. It currently consists of nine chapters and deals with how to setup Qt, how to use Qt Designer, how to write an application by hand, etc. The purpose of the tutorial is to cover all areas of Qt needed to write top quality applications. Feel free to check it out.
How to design object oriented application
The first part is quite nut and bad written.
By Anonymous coward at Wed, 2003/12/17 - 6:00am
Re: How to design object oriented application
I'm aware of that problem, however, I want to introduce Qt's object model. I'll probably look into that part of the text though. Thanks for pointing it out.
By Johan Thelin at Wed, 2003/12/17 - 6:00am
Re: How to design object oriented application
I'm aware of that problem and I will look into it. The problem is that I want to show the Qt object model, and I (apparently) drifted a bit off-topic. I will revise the text.
As for further suggestions, please mail me a copy too, since I didn't activate e-mail notification.
By Johan Thelin at Wed, 2003/12/17 - 6:00am
Re: How to design object oriented application
Definitly a nice start! congrats.
By Mark Hannessen at Wed, 2003/12/17 - 6:00am
I only just started reading it and what I miss is first up some practical but very simple (did I mention SIMPLE!) walkthru of using Designer for real and THEN start with the extensive theory in the fisrt few chapters... with refrences to the VSRP (very simple real project) example. It seems to me you have written the first few chapters up to make sure you understand the theory and not so much from a complete novices point of view. Theory on top of theory without referring to real-world examples is often too much work to wade thru.
By markc at Wed, 2003/12/17 - 6:00am
Re: Examples
Great idea. As I allready mentioned, I plan to redo the first chapters (concerning the object model). Perhaps I should put a Designer version of the Troll's LCD+Slider example there? That includes signals and slots while not getting to complex with Designer. My only problem then is that the Designer introduction that comes later will look to detailed, or? Suggestions?
By Johan Thelin at Wed, 2003/12/17 - 6:00am
Anonymous Coward
Hi Anonymous Coward here,
I really like this, keep it up!
By ac at Wed, 2003/12/17 - 6:00am
Re: Anonymous Coward
Oh. ac = anonymous coward.
By The Real AC at Wed, 2003/12/17 - 6:00am
Error regarding POD structure
In Chapter 7, the Example 7-1 and the paragraph above, describing it, are erroneous.
In the paragraph it reads "The structure that we will introduce is a so called POD structure. This means plain old data, and means that the structure has no methods." This is not entirely correct. At various places in the Standard there are requirements for POD types, but I think a POD structure can have non-virtual member funtions. The relevant part of the Standard is Section 9 [class], paragraph 4 I think. A description of POD types can be found at http://www.parashift.com/c++-faq-lite/intrinsic-types.html#faq-26.7
As the example class "Contact" consists of the non POD type "QString", it is not a POD type itself.
By Volker Lukas at Wed, 2003/12/17 - 6:00am
Re: Error regarding POD structure
Thanks for pointing this out. I will fix the problem in the next revision.
By Johan Thelin at Wed, 2003/12/17 - 6:00am
why not kde?
how about a A Hand Made KDE Application tutorial? they look so much better then Qt ones.
By Pat at Wed, 2003/12/17 - 6:00am
Re: why not kde?
By Pedro Echanove at Thu, 2003/12/18 - 6:00am
As you might have noticed I did an update yesterday evening (CET). Chapter one, three and seven got a facelift. Thanks for providing great feedback!
By Johan Thelin at Thu, 2003/12/18 - 6:00am
What about Ralf Nolden's KDE Development book?
Last summer Ralf Nolden announced that he was writing a FDL'd book covering C++, Qt and KDE development (http://lists.kde.org/?l=kde-core-devel&m=105850839120182&w=2 ).
Does anybody know how this effort is going?
By Quique at Thu, 2003/12/18 - 6:00am
Re: What about Ralf Nolden's KDE Development book?
There is no actual work being done which is disappointing.
By Anonymous at Mon, 2003/12/29 - 6:00am


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FILMSTUD 114: Reading Comics (AMSTUD 114X, FILMSTUD 314)
The modern medium of comics, a history that spans 150 years. The flexibility of the medium encountered through the genres of humorous and dramatic comic strips, superheroes, undergrounds, independents, journalism, and autobiography. Innovative creators including McCay, Kirby, Barry, Ware, and critical writings including McCloud, Eisner, Groenstee. Topics include text/image relations, panel-to-panel relations, the page, caricature, sequence, seriality, comics in the context of the fine arts, and relations to other media.
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 116: International Documentary (FILMSTUD 316)
Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED
FILMSTUD 133: Contemporary Chinese Auteurs (FILMSTUD 333)
New film cultures and movements in Taiwan, Hong Kong, and mainland China in the 80s. Key directors including Jia Zhangke, Wu Wenguang, Tsai Ming-liang, Hou Hsiao-hsien, Wong Kar-wai, Ann Hui. Topics include national cinema in the age of globalization, the evolving parameters of art cinema, and authorship.
Last offered: Spring 2013 | UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 140: Film Aesthetics: Editing (FILMSTUD 340)
Practical and theoretical approaches to editing and montage. The role of editing in film meaning, and cognitive and emotional impact on the viewer. Developments in the history and theory of cinema including continuity system, Soviet montage, French new wave, postwar and American avant garde. Aesthetic functions, spectatorial effects, and ideological implications of montage. Film makers include Eisenstein, Godard, and Conner.
| UG Reqs: GER:DB-Hum
FILMSTUD 145: Politics and Aesthetics in East European Cinema (FILMSTUD 345)
From 1945 to the mid-80s, emphasizing Polish, Hungarian, Czech, Slovak, and Yugoslav contexts. The relationship between art and politics; postwar establishment of film industries; and emergence of national film movements such as the Polish school, Czech new wave, and new Yugoslav film. Thematic and aesthetic preoccupations of filmmakers such as Wajda, Jancso, Forman, and Kusturica.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 150: Cinema and the City (FILMSTUD 350)
Utopian built environments of vast perceptual and experiential richness in the cinema and city. Changing understandings of urban space in film. The cinematic city as an arena of social control, social liberation, collective memory, and complex experience. Films from international narrative traditions, industrial films, experimental cinema, documentaries, and musical sequences. Recommended: 4 or equivalent.
Last offered: Winter 2009 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom
FILMSTUD 164A: Technology and the Visual Imagination (ARTHIST 164A, ARTHIST 364A, FILMSTUD 364A)
An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Last offered: Winter 2016 | UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 165A: Fashion Shows: From Lady Godiva to Lady Gaga (ARTHIST 165A, ARTHIST 365A, FILMSTUD 365A)
The complex and interdependent relationship between fashion and art. Topics include: the ways in which artists have used fashion in different art forms as a means to convey social status, identity, and other attributes of the wearer; the interplay between fashion designers and various art movements, especially in the 20th century; the place of prints, photography, and the Internet in fashion, in particular how different media shape how clothes are seen and perceived. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Last offered: Winter 2014 | UG Reqs: GER:DB-Hum, WAY-A-II
FRENCH 120: Coffee and Cigarettes: The Making of French Intellectual Culture
Examines a quintessential French figure "l'intellectuel" from a long-term historical perspective. We will observe how this figure was shaped over time by such other cultural types as the writer, the artist, the historian, the philosopher, and the moralist. Proceeding in counter-chronological order, from the late 20th to the 16th century, we will read a collection of classic French works. As this course is a gateway for French studies, special emphasis will be placed on oral proficiency. Taught in French; readings in French.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Edmondson, C. (PI)
2019-2020 Autumn
4-5 units |
UG Reqs: GER:DB-Hum, WAY-A-II |
Class #
Section 01 |
Grading: Letter or Credit/No Credit |
| Students enrolled: 4
09/23/2019 - 12/06/2019 Mon, Wed 10:30 AM - 11:50 AM at 240-202 with Edmondson, C. (PI)
Exam Date/Time: 2019-12-09 3:30pm - 6:30pm (Exam Schedule)
Instructors: Edmondson, C. (PI)
FRENCH 130: Introduction to Medieval and Renaissance French Literature
This introduction to classic French texts from the twelfth to the sixteenth century investigates the birth of a national literature. Ranging from epic adventures to sublime poetry to obscene comedy, these works shaped modern understandings of love, duty, gender, otherness, and the self. These literary landmarks allow us to analyze past cultures dramatically different than our own while reflecting on their lessons for the present. Students will learn to read texts closely, examine their historical contexts from the Crusades to the Wars of Religion, and situate them alongside visual artworks and music from the time. All readings, discussions and writing assignments will be in French. Prerequisite: FRENLANG 124 or permission of instructor. This course fulfills the Writing in the Major (WIM) requirement.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Pesic, A. (PI)
2019-2020 Autumn
4 units |
UG Reqs: GER:DB-Hum, WAY-A-II |
Class #
Section 01 |
Grading: Letter (ABCD/NP) |
| Students enrolled: 5
09/23/2019 - 12/06/2019 Tue, Thu 3:00 PM - 4:20 PM at 50-51P with Pesic, A. (PI)
Instructors: Pesic, A. (PI)
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