#geoffrey parsons

[aschenblumen]

Franz Schubert, Vier Gesänge für «Wilhelm Meister» (4. Lied der Mignon: «Nur wer die Sehnsucht kennt»), D. 877. Texto de Johann Wolfgang von Goethe, Barbara Bonney, soprano Geoffrey Parsons, piano

Nur wer die Sehnsucht kennt Weiss, was ich leide!

[thesarahfiles]

Remembering Geoffrey Parsons AO OBE, born on June 15, 1929. He was an accomplished Australian pianist, most notably as an accompanist to singers and instrumentalists. He provided the sole accompaniment for Sarah on her debut album "The Trees They Grow So High". 

[voices-of-hope-county]

Are there, by chance, voice files of the female deputy actually speaking, or a name of the voice actor who recorded the sound effects?

The female Deputy never speaks, but it sounds to me like she has the same voice actor as one of the cultists. You can find a transcript of most of her lines in this document if you search for “CULT_FOLLOWER_FEMALE_05”. One of the Angels might be played by the same person too.

I know Randy Yuen did motion capture for the Deputy in general, and maybe the male Deputy has his voice, but there is no information about who played “CULT_FOLLOWER_FEMALE_05” and the female Deputy…

The actor’s name must be in the credits, however, so probably one of these people:

VOICE TALENT Doug Abrahams Marty Adams Claire Armstrong Ted Atherton Kailea Banka Carolina Bartczak Lawrence Bayne Bruce Blain Jesse Bond Sarah Booth Marc-André Boulanger Wyatt Bowen Paul Braunstein Kimberly D. Brooks Jason Bryden Nicki Burke Mark Camacho Braeden Clarke Lucinda Davis Stacey DePass Bruce Edwards Jake Epstein Jonathan Goad Amber Goldfarb Alain Goulem Rob Greenway Gavin Hammon Ian Hanlin Lauren Jackson Julianne Jain Mara Junot Helen King Jameson Kraemer Gabe Kunda Tristan D. Lalla Erica Lindbeck Erin Mathews James Mathis III Jon McLaren Scott McNeil Cynthia Kaye McWilliams Chimwemwe Miller Julie Nathanson Mayko Nguyen Peter Outerbridge Lindsay Owen-Pierre Giles Panton Christopher Parson Kristen Peace Murry Peeters Simon Lee Phillips Geoffrey Pounsett Claire Rankin David Richmond-Peck Cara Ricketts Kyle Rideout Charlotte Rogers Paula Shaw Jesse Sherman Ivan Sherry Howard Siegel Jonathan Silver Dylan Taylor Jeff Teravainen Brett Watson Jane Wheeler Dan White Scott Whyte Debra Wilson Kim Yarbrough Farid Yazdani

And there is a little more information about who played who on IMDb.

This is all I know for the moment... but I hope it helps :)

[insidemyfavoritemanuscript]

Episode 3: Megan Cook on Chaucer, Weird Spelling, and the Long History of GG

Pilgrim portrait of the Monk from CUL MS Gg.4.27.1

In Episode 3 of Inside My Favorite Manuscript, Dot sits down with Megan Cook, professor of English and book historian, to talk about Cambridge, University Library MS Gg.4.27.1. GG (as Megan affectionately calls it) is an early effort to bring together Chaucer’s major works outside of London, the writing might indicate something interesting about the person who wrote it, and it had a long and interesting history after it was written around 1425.

Listen here, or wherever you find your podcasts.

Join our mailing list to receive weekly updates about the IMFM pod!

Below the cut are photos of some of the specific things we discuss in this episode.

Folio 5r, the opening page:

Zoomed in to show the location of the erased signature:

Folio 352r, pilgrim portrait of the Monk:

Zoomed in view of the Monk:

Monk from the Ellesmere Manuscript (for contrast):

Folio 433r, Lechery and Chastity from the Parson’s Tale:

Zoomed in view of Lechery and Chastity:

Opening of the Canon’s Yeoman’s Tale with excised initial, recto:

Opening of the Canon’s Yeoman’s Tale with excised initial, verso (the back of the same leaf):

Parchment stub (protected on either side by thin paper) of the leaf that contained the opening to Troilus and (likely) a full-page miniature:

Holland’s added glossary:

Holland’s portrait of Geoffrey Chaucer:

Cook, Megan L. (2017) "Joseph Holland and the Idea of the Chaucerian Book," Manuscript Studies: Vol. 1: Iss. 2, Article 2. Available at: https://repository.upenn.edu/mss_sims/vol1/iss2/2

The Poet and the Antiquaries: Chaucerian Scholarship and the Rise of Literary History, 1532-1635 (Penn, 2019)

Finally, as promised in the outro, a link to Megan’s essay “Dirtbag Medievalism,” LA Review of Books, July 14 2021.

[ilikecarsandlike4people]

"Light up your face with gladness Hide every trace of sadness Although a tear may be ever so near That’s the time you must keep on trying Smile what’s the use of crying You’ll find that life is still worthwhile If you’ll just Smile"

-Smile (1954), John Turner and Geoffrey Parsons

[the-cat-at-the-theatre-door]

the past experience revived in the meaning an old deuteronomy fanmix  [listen]

01. Lux Aurumque - eric whitacre | 02. This Little Light of Mine - a covering | 03. Der Nussbaum (The Chestnut Tree) - london promenade orchestra  | 04. I’ve Been This Way Before - neil diamond  |  05. Carry That Weight - the beatles   |  06. Libiamo ne’ lieti calici (live) - plácido domingo | 07. someone new - hozier  |  08. Homeward Bound - bryn terfel | 09. whispering - alex clare  | 10. Dear Fellow Traveller - sea wolf  | 11. Hey Brother - the mayries & dan berk | 12. Return - james newton howard  | 13. Now Sleeps the Crimson Petal Op. 3 No. 2 - roger quilter, thomas allen & geoffrey parsons | 14. Soave sia il vento - miah persson, angela brower & alessandro corbelli  | 15. Annie’s Song (instrumental) - james galway | 16. Songs My Mother Taught Me - Paul Robeson  | 17. Golden Slumbers - josh young | 18.  silhouette - aquilo | 19.  I Tried - rory campbell  | 20.  Eclipse - john denver | 21. Yearning - carl moir   | 22. The Secret Garden - aurora  | 23. Keep On - michael nesmith | 24. All The Faces - creed bratton  | 25. Constellations - the oh hellos  |  26.  Willow Tree March - the paper kites |  27. Memory (instrumental) - jian wang & göran söllscher | 28.  This Is A Changing World - noel coward  | 29.  When It’s Time - lotte kestner | 30. The Sands of Time Are Sinking - the scottish festival singers  | 31.  100 Years (Acoustic) - five for fighting | 32.  The Prayer - helene fischer & andrea bocelli | 33. I Wish I Had a Hundred Years - fernando velázquez  | 34. The Long Road (Acoustic) - passenger  |  35.  Across The Vast, Eternal Sky - the choir of royal holloway |  

Semi-explanation below the cut

Feel free to ignore this one, if you care not for context, but let me see if I can explain this because I am not completely pleased with the order *but* it’s a lot like Gus’ in that it isn’t necessarily always fully lyrically applicable, but rather tells the expanse of a life lived. 

The opening few songs are mostly free of lyrics - Deuteronomy was slow to talk when he was a kitten. He spent a good majority of his young kittenhood non-verbal and late to talk compared to his fellows, but he was still blossoming incredibly quickly developmentally, particularly in mental and telepathic capacity. He started understanding things that were odd for kittens to understand (and his second mother indicated that there was...a light behind his eyes that was difficult to place that signified a wisdom far beyond his years). The first few songs lack lyrics (or have very few) to illustrate this tentative step into a life that is celebrated (being the heir), and how he is valued but comes into himself slowly.  

“I’ve Been This Way Before” is when Deuteronomy finally starts to speak - and when he begins, he skips right over his babble and the present. He speaks about pasts he knows - so many of them - in great detail, remembering places he’s never been and cats he’s never met. He goes from being non-verbal to talking *non-stop*, often cryptically and with little reason. At this point he speaks *beyond* his own past lives; he speaks about the lives of other cats as well. And it’s at that point where it’s realized that Deuteronomy’s life isn’t going to be an easy one - he won’t just be carrying on his own life; he’ll be carrying on the lives of hundreds - thousands - of others. Not only is he meant to lead the Tribe (and after the death or disappearance of his later siblings, the *only* one left to lead), he’s meant to keep their memories as well (an ill advised combo).  

Though a relatively wise, empathetic-to-a-fault, and even tempered child, and willing to attended his training dutifully, like most young cats, Deuteronomy doesn’t take all too kindly to the promise of responsibility at first - as he entered his maturation years, he began to act out. Along with his foster brother, Gus, he settled into his “devil may care,” “sowing his wild oats” era, not quite wanting to dwell on how heavy his life was about to become, flitting from cat to cat (that’s where the “buried 99 wives” rumour comes from - there are plenty of notches in the old tom’s belt and plenty of other kittens, much as most cats lives are wont to be), experience to experience, theoretically place to place (he never leaves entirely), longing to drift off and explore the world before inevitably being tied down to his responsibilities (knowing still that he did need to return to them and never thinking he never wanted to - he always did want to). They have their fun (to a just about alarming level), but those whispers and visions he has just don’t...stop. He can ignore them all he likes, but they just get louder and clearer and begin to teach him things that he couldn’t quite grasp before; things you cannot really *be* taught. His venturing outside of the Junkyard shows him the extent of things he never experienced. So, though he longs for a continued adolescence free of the burden of his gifts and responsibility, he quickly realizes that he cannot have one. He has too many cats depending on him - there are too many wrongs in the world that he can’t run from. His father is old - Maladeen has passed on - he is the only one left. So, though it’s not entirely what he wants, he returns to his family fully, hangs up his belt, and takes up his mantle.

For the first little while, things look up for Deuteronomy. He reunites with a queen from his past, meets another, they fall in love, they build their life together in spite of knowing that, ultimately, it will never be an easy one  (”Soave sia il vento” is a cry for the sea to be calm; much like a cry for life to be easy - though Mya, and Ginny - brain children of the always brilliant @theimpossiblescheme -​ know it might not be and Dee *knows* for certain it won’t be). Still, they are happy; they have their sons, Deuteronomy thinks on his mothers and passes their teachings on to them, and it seems perhaps he’s got a grasp on everything at last. 

But, as always, nothing good lasts for too long. Deuteronomy starts disassociating far more frequently - some nights it’s hard for him to recognize himself; understand where he begins and ends. He struggles to keep from turning inwards - as his father had as he struggled with his own underdeveloped psychic abilities - and it’s just as difficult for other cats to recognize him in tandem. It’s all just...too much. Too, too much. He feels like an exposed nerve all the time; everything hurts. Everyone’s feelings burn in his throat; all of their pain becomes his, and he just shoulders more and more with seemingly no end and it’s overwhelming.His cup runs over. He loves them too much - he cares *too much*. The only way he can quiet it down it to distance himself - try to be that unshakeable calm that his training demanded of him. It works. Kinda. The rest of the Junkyard notes this change. 

Things beyond his control start happening - defects and illnesses and power struggles and threats; and others within his control start slipping through as a result. He tries to hold onto everything but he’s only one cat. He loses his eldest son to the lure of powers beyond his understanding, Mya to her sympathetic heart, then Ginny to the Heaviside- almost in succession. At this point, Deuteronomy is at a loss; the pain of others mixes with his own - it doesn’t stop. It gets so bad, that it begins to run over through the cracks in his consciousness he is barely able to patch; being around Deuteronomy can just as easily be uncomfortable and emotionally painful as not. It’s a hard time for everyone. 

But one evening, at the pique of what seems like a never ending well of suffering, he sees something (whether it be a vision from the Everlasting Cat or her servants, he’s never been certain). He tells no one of what he sees (he takes that to his grave), but whatever it was, like a switch, it gives Deuteronomy this sudden, quiet feeling of...calm. It all falls into place; he is no longer struggling against his gift, he is working with it; he *understands* it, at long last. And with this new found sense of purpose, in spite of his loss, in spite of his grief, he continues on. 

Deuteronomy ages, becomes wiser, shares his wisdom with his family. Cats leave - cats come back - he gains a whole gaggle of in laws and grandkittens and grand nieces and nephews.  He teaches his family the importance of unconditional love; the act of forgiveness, both on oneself and towards others. Mya eventually returns to him; life has finally settled. But eventually things must come to an end; the great immortal - who was thought perhaps never to die - is a mere mortal after all. Deuteronomy’s final Ball is an entirely bittersweet affair and filled with lessons overlapping one another, the old cat hoping he’s passed everything he needed to onto his family. “The Prayer” is illustrative of a final duet with his dear Sillabub, who will take the mantle after him and has the honour of sending him up, passing on the final message he imparts his cats with. 

And he is sent off in the same way he was brought into the world - with a dramatic choir swell and then silence. 

[kwebtv]

The Cedar Tree  -  ITV  -  September 20, 1976 -  September 24, 1978

Melodrama (119 episodes)

Running Time:  30 minutes / 60 minutes in 1978

Stars:

Joyce Carey – Lady Alice Bourne, widowed mother of Arthur and Phyllis

Philip Latham – Commander Arthur Bourne (series' 1 & 2)

Susan Engel – Helen Bourne, Arthur's wife

Sally Osborne – Elizabeth Bourne, eldest daughter of Arthur & Helen Bourne

Jennifer Lonsdale – Anne Bourne, middle daughter of Arthur & Helen Bourne

Susan Skipper – Victoria Bourne, youngest daughter of Arthur & Helen Bourne

Kate Coleridge – Phyllis Bourne, Arthur's sister

Cyril Luckham – Charles Ashley, father of Arthur's wife Helen

Gary Raymond – Jack Poole

Carol Royle – Laura Collins, friend of Victoria

Jean Taylor Smith – Nanny

Peter Hill – Gates, the Bourne's chauffeur and general help

Ruth Holden – Mrs. Gates, the Bourne's housekeeper

Shaun Scott – Jim Tapper, assistant to Gates

Alan Browning series 1 & 2/Richard Thorp series 3 – Geoffrey Cartland

Lillias Walker – Rosemary Cartland

John Oxley – Peter Cartland

Tom Chatto – Parsons, the Cartland's butler

John Hug – Gwylym Meredith-Jones

Joan Newell – Winifred Hedges

Patrick Ryecart/Steven Pacey – Klaus Von Heynig

Nigel Havers – Rex Burton-Smith

Jack Watling – Captain Julian Palmer (series 2) / Commander Arthur Bourne (series 3)

Rosemary Nicols – Angela Scott, magazine reporter

Michael Macowan – Doctor Cropper

Pamela Mandell – Miss Pringle, owner of the Copper Kettle tearooms

Richard Vernon – Lord Evelyn Forbes, old flame of Lady Alice Bourne

Peter Egan – Ralph Marsh

[figureskatingfanblog]

2022 GP Finalists - Ice Dance

Here are the Ice Dance finalists for the GP Final in December.

Piper Gilles / Paul Poirier (CAN)

Charlene Guignard / Marco Fabbri (ITA)

Laurence Fornier Beaudry / Nikolaj Sorenson (CAN)

Madison Chock / Evan Bates (USA)

Lilah Fear / Lewis Gibson (GBR)

Kaitlin Hawayek / Jean-luc Baker (USA)

Alternates -

Marjorie Lajoie / Zachary Lagha (CAN)

Caroline Green / Michael Parsons (USA)

Evgeniia Lopareva / Geoffrey Brissaud (FRA)

[gadsdenbetsyjoinbedford]

Good. Maybe they will actually serve time for this crap.

[thxnews]

Unveiling the Timeless Masterpiece: The Canterbury Tales - A Window into Medieval Life

  The Canterbury Tales by Geoffrey Chaucer is one of the greatest literary works of the Middle Ages and is considered a masterpiece of English literature. Written in the late 14th century, this enlightening work of fiction provides readers with a unique window into life during Medieval England. This collection of 24 stories is written in verse and is set in the context of a pilgrimage to Canterbury. The stories are told by a group of travelers, who are on their way to visit the shrine of Saint Thomas Becket in Canterbury. We will now explore the historical context of The Canterbury Tales, delve into some of the most famous tales, and the impact that the work has had on literature and culture. So, come join us on this journey as we explore the Canterbury Tales.  

Canterbury tales volume set and Jeffery Chaucer. Photo by the British Library. THX News.  

Context of Medieval England

Political Context Medieval England was characterized by a feudal system where the king held supreme power and granted land to nobles in return for their loyalty and military service. The peasantry, which comprised the majority of the population, worked on the lands of the nobles in exchange for protection and a share of the produce. The political instability of the period, due to frequent wars and disputes over the throne, led to growing dissatisfaction among the common people. The Canterbury Tales reflect this political context in several ways. The tale of the Knight, who is an embodiment of chivalry and loyalty, represents the idealized image of the nobles. The Pardoner, on the other hand, who cheats people for money, is a critique of the corrupt practices of the Church and State officials.   Social Context The rigid social stratification of the Medieval period placed the aristocracy at the top and the peasantry at the bottom of the social ladder. Medieval society was patriarchal, and women had limited opportunities for education and employment. The Church played a significant role in the social structure and exerted its influence over all aspects of life, including education, law, and morality. Chaucer’s work reflects this social context in significant ways. The Miller and the Reeve, who are portrayed as buffoons, represent the lower classes, and their crude behavior contrasted with the refined and cultured qualities of the Monk and the Nun’s Priest.   Religious Context Religion played a crucial role in the medieval society of England. The Church was viewed as the moral authority and was responsible for providing spiritual guidance to the people. Religious festivals, pilgrimages, and prayer were an integral part of everyday life. Christianity was the dominant religion, and other faiths were not tolerated. The Canterbury Tales reflects this religious context through the character of the Parson, who embodies the virtues of Christianity and represents the ideal spiritual guide. At the same time, the Friar and the Pardoner, who were both connected with the Church, are depicted as greedy and corrupt individuals who exploit the faith of the people for their own benefit.  

A highlight of Decorated Gothic art the outer north porch c.1325 of St Mary Redcliffe, Bristol, England. Photo by Spencer Means. Flickr.  

Overview of The Canterbury Tales

Historical Background The Canterbury Tales was written in a time that saw a significant transformation of English literature. In the late 14th century, English replaced Latin and French as the main language of literature. It was due in part to the efforts of writers like Chaucer, who sought to make literature accessible to all, regardless of their social status and education. Chaucer’s work marked the emergence of English as a literary language, which further contributed to the English language’s development.   Themes and Style The Canterbury Tales is a complex work that incorporates various themes. The tales told by the characters bring out fundamental human endeavors, such as love, greed, and power. Chaucer’s views on social hierarchy and morality also permeate the tales. Humor and satire are other striking elements of the work, which add to its appeal. Each character’s tale is narrated in a distinct style that reinforces their characterization, making The Canterbury Tales a prime example of the art of characterization in literature.   The Structure of The Canterbury Tales The structure of The Canterbury Tales is crucial to its style and thematic content. The work comprises 24 stories in total, broken down into tales told by twenty-three pilgrims, along with two tales told by the host. The pilgrims are representative of various sections of medieval society, from the high-ranking aristocrats to the working-class characters like the plowman and the miller. This range of characters and their tales effectively portrays medieval English society.  

The Knight of The Knight's Tale. Photo by Ben Sutherland. Flickr.  

Characters

The Knight The first character that comes to mind is the Knight, who is the epitome of chivalry and honor. He is described as "a worthy man" and has fought in many battles over the course of his life. His tunic bears the emblem of St. George, suggesting that he is a devout Christian. The Knight's tale is one of adventure and romance, and it explores the themes of love and loyalty. The significance of the Knight's character lies in his representation of the ideal of chivalry, which was highly valued during the Middle Ages.   The Wife of Bath Another memorable character is the Wife of Bath, who is a self-proclaimed expert on marriage and love. She has been married five times and is not ashamed of it. In fact, she sees marriage as a means of achieving control over men. The Wife of Bath's tale is a feminist retelling of the story of King Arthur and his queen, and it explores the themes of power and gender roles. The significance of the Wife of Bath's character lies in her representation of unorthodox views on marriage and women's rights, which were radical in the Middle Ages.   The Miller The Miller is another colorful character in The Canterbury Tales. He is a rude and vulgar man, who enjoys drinking and stealing. He is described as having a "red beard" and a "wide nostril" and is always ready to pick a fight. The Miller's tale is a bawdy one, which involves a love triangle and a lot of sexual innuendo. The significance of the Miller's character lies in his representation of the lower classes, who were often overlooked in Middle English literature.   The Pardoner The Pardoner is a fascinating character, who is both repulsive and alluring. He is a religious figure who sells indulgences, which are supposed to reduce the time spent in purgatory. However, the Pardoner is a fraud, and he often makes up stories to convince people to buy his wares. He is described as having "hair as yellow as wax" and a "smooth, hairless face." The Pardoner's tale is a moral one, which explores the themes of greed and corruption. The significance of the Pardoner's character lies in his representation of the corruption within the Church.   The Summoner The final memorable character we will discuss is the Summoner, who is a repulsive and grotesque figure. He is a religious official whose job is to summon sinners to appear before the Church courts. However, he is corrupt and often accepts bribes to let people off the hook. He is described as having a "fierce red face" and a "face full of pimples." The Summoner's tale is a scathing critique of the corruption within the Church, and it explores the themes of hypocrisy and greed. The significance of the Summoner's character lies in his representation of the corruption and moral decay within the Church.  

The Two Noble Kinsmen, Palamon and Arcite. Photo by Ben P L from Provo, USA. Wikimedia.  

Themes

Social Hierarchy Social hierarchy was a prominent aspect of medieval society. As a result, Chaucer subtly incorporated it into his writing. In the story, The Knight's Tale, the character of Theseus is used to provide us with a glimpse into medieval royalty. He is portrayed as a respected and noble leader that people look up to. His social status gives him power, but also adds a weight of responsibility to his actions. The Boy's Tale is another story that presents us with the importance of social position. This tale focuses on the story of two friends, Arcite and Palamon. The two men are both in love with Emelye, but because Arcite is of nobler birth, his aspirations to marry her are more likely to be approved. The story shows how social status played a role in love and marriage during medieval times.   Morality Morality plays a central role in many of the tales in the Canterbury Tales. Chaucer is seen as a master of his craft, capable of dealing with complex moral conundrums in a way that is relatable to readers. In The Pardoner's Tale, we see how greed can drive men to do terrible things. The tale exposes the corrupt nature of humans, who are always tempted by material things. The Wife of Bath's Tale teaches us about the importance of trust and compromise in relationships. She emphasizes how important it is to listen to each other's needs and desires. The tale also portrays a woman who has control over her own life. This was a revolutionary notion during the medieval era, when society was deeply patriarchal. Religion Religion is prevalent throughout the Canterbury Tales. People during the medieval era were devout believers and religion played a central role in everyday life. In The Man of Law's Tale, we see the story of a converted Jew who converts to Christianity. The story shows how religion can change a person's life and beliefs. The Friar's Tale, on the other hand, focuses on the immoral nature of some religious figures. The friar is portrayed as a corrupt individual who uses his position in the church for personal gain. This tale teaches us about the dangers of trusting those who claim to be religious simply because of their position.  

Structure

The Canterbury Tales is a frame narrative, with the frame being the pilgrimage to Canterbury. The narrative framework of the tales is a crucial element as it sets the stage for the stories and binds them together. The pilgrims represent all sections of medieval society, from the nobility and the religious to the commoner, making it a unique representation of contemporary medieval life. The structure of the pilgrimage narrative is partly designed to encourage us as readers not merely to observantly read, but to actively participate in the journey. The stories in The Canterbury Tales have multiple levels of meaning, serving as both entertainment and social critique. The tales range from the high-minded Knight's Tale, which deals with questions of honor, courage, and justice, to the bawdy Miller's Tale, which serves as a very down-to-earth contrast. As the tales come to us, we are passive listeners who are participants in the journey, and the storytellers invite us to join the discussion. The tales also reveal a great deal about the people who are telling them, providing rich character studies. For instance, the character of the Wife of Bath is revealed in her story as she justifies her lustful tendencies.   Classic Story Telling The story-telling structure is also a characteristic feature of the book's structure. The tale-tellers are introduced in the General Prologue, which provides a brief profile of each pilgrim. As the journey continues, each pilgrim tells one tale, resulting in 24 tales. However, it is the tale-telling structure that makes this book one of the most significant literary works of all time. The structure of the tales is both entertaining and educational, capturing the essence of medieval life. The tales in The Canterbury Tales exemplify the medieval genre of fabliaux, which means "little stories" in old French. Each story is a self-contained narrative, and the tales vary in length and complexity. Some reflect the traditions of romantic courtly love, while others satirize religious and secular institutions. The tales are all very different, and their distinctive storytelling style. The tales reveal the conditions of various medieval groups and offer insights into medieval ethics, morals, and religion. The variety of stories is a reflection of the wide diversity of society, which is a crucial feature of the overall narrative.  

FLINT, William Russell 1880-1969. Chaucer's 'The Canterbury Tales', Frontispiece, 1928.. Photo by Halloween HJB. Flickr.  

Significance to Literature and History

First and foremost, The Canterbury Tales is considered significant because it is considered a seminal work in the development of English literature. It was written in Middle English, which was the language spoken in England during the 14th century. The stories reflect the cultural and social norms of the time, allowing readers to get a glimpse into medieval life. This historic context provides a unique and insightful interpretation of one of the most significant pieces of English literature. Moreover, The Canterbury Tales is also considered significant for the way it challenges societal norms and the status quo. Chaucer’s works were known for being ‘bawdy’ and controversial. The Canterbury Tales, in particular, features characters who challenge societal norms, such as the Wife of Bath, who was seen as a feminist figure. The words and actions of the various characters in the stories also reflected a range of personalities and themes, providing a more nuanced interpretation of the medieval period.   The English Religious and Socio-political Views of the Time The Canterbury Tales were also a reflection of the religious and socio-political situation of England. During the 14th century, English society was undergoing a period of transformation. England was transitioning from a feudal society to a more centralized government. The book includes a commentary on the corruption within the clergy and the institutionalized practices of the church. Chaucer uses his fictional stories to provide social commentary on the injustices of his time, and this provides a unique perspective on a tumultuous period in English history. The Canterbury Tales is a treasure trove of historical information that can be studied and dissected for years to come. The tales provide ample insight into the cultural, religious, social, and economic aspects of medieval life. The figures in the book reflect the interests, conflicts, and priorities of the medieval people, and understanding these figures provides insight into the complex lives of those who lived in these times.  

Conclusion

The Canterbury Tales is a timeless classic that has endured for centuries and continues to influence literature, art, culture, and history. It serves as an important reminder of the values of Medieval England while also providing readers with insight into human nature. Through its tales of chivalry and romance, The Canterbury Tales offers us a glimpse into the lives of characters from all walks of life during this period in time. Those who read it come away with a better understanding of how society was structured during medieval times as well as what people valued most then. Whether you are looking for historical context or just want to get lost in some captivating stories, The Canterbury Tales will not disappoint!   Sources: THX News & British Library. Read the full article

[aiscripts4lifetime]

PROMPT: Create a Netflix limited series based on a friendship between Steve Urkel and Carlton.

RESULTS: "Stuck on the Dance Floor: A Urkel & Carlton Story"

Synopsis:

"Stuck on the Dance Floor" is a limited series that follows the unlikely friendship between Steve Urkel, a nerdy high school student, and Carlton Banks, a preppy rich kid. Despite their initial differences, the two bond over their shared love of dance and become inseparable.

The series is set in the late 80s/early 90s and takes place in Chicago, where Steve and Carlton attend the same school. At first, Carlton is hesitant to befriend Steve, who he views as a social outcast. But when they find themselves stuck on the dance floor during a school dance, they realize they share a passion for dancing and music.

Over the course of the series, we see the friendship between Steve and Carlton grow as they navigate the ups and downs of high school. They form a dance crew with their friends and begin performing at local events, showcasing their unique style and talent. As they become more popular in the dance scene, they also gain the attention of rival crews and face challenges that threaten to tear them apart.

Throughout the series, Steve and Carlton support each other through personal struggles, such as Carlton's strained relationship with his father and Steve's insecurities about his nerdiness. They also confront issues of class and race, as Carlton's privileged background clashes with Steve's working-class upbringing.

In the final episodes of the series, the friends must face their biggest challenge yet when their crew is invited to compete in a major dance competition. As they prepare for the competition, tensions rise, and they are forced to confront their fears and insecurities. But through it all, their friendship remains strong, and they ultimately triumph, proving that anything is possible when you have the support of those you love.

Cast:

Jaleel White as Steve Urkel

Alfonso Ribeiro as Carlton Banks

Tatyana Ali as Ashley Banks

Joseph Marcell as Geoffrey Butler

Karyn Parsons as Hilary Banks

James Avery as Philip Banks

The series will be produced by Netflix and created by a team of writers led by Kenya Barris. It will consist of six episodes and will be directed by Justin Simien. "Stuck on the Dance Floor" promises to be a heartwarming and nostalgic look at the power of friendship and the joy of dance.

Generated by ChatGPT.

[sunskate]

this year’s RD theme is 80s music. there is no pattern, but there are also rumors with the source supposedly being an ISU coaches meeting that Silver Samba is a choreo element - how does that work? the Silver Samba is a pattern dance, so there's both no pattern but steps from a pattern required?

the Silver Samba was the required pattern for juniors in the 2014-15 season-- skaters who are still around who skated that pattern at junior worlds that year: Michael Parsons (USA) Tim Dieck (??) Lorraine McNamara (USA) Geoffrey Brissaud (FRA) Carlo Rothlisberger (ITA)

[illimitablespaces]

Smile

music by Charlie Chaplin, lyrics by Geoffrey Parsons and John Turner, performed here by Ciaran Lavery

[demoura]

DOMINGO 2 DE JUNHO DE 2024 : EM COLARES FUGIDO DA CANÍCULA OUÇO CANÇÕES DE LOPES GRAÇA POR NUNO VIEIRA DE ALMEIDA E SUSANA GASPAR ; . BELOS LIEDER PORTUGUESES (E NÃO SÓ ) E PERFORMERS DE ALTA QUALIDADE ! : ontem fugi à canícula de Lisboa manhã muito cedo e vim para o tugúrio de Colares . Comigo trazia o CD da Naxos ,Songs and Folk Songs 3 oferta de Nuno Vieira de Almeida. Na década de 30 do século XX, Fernando Lopes-Graça foi principal criador de um lied português, motivado pela sua "afinidade pessoal com a literatura” influenciada por uma relação de grande proximidade com os membros da revista Presença. Esta canção "culta" portuguesa envolve, a relação entre a música e a palavra , uma reflexão sobre a possibilidade de unir meios artísticos com "processos evolutivos" profundamente dispares . Ora, logo desde os seus anos de estudo com Geoffrey Parsons em Londres em 1985, o pianista Nuno Vieira de Almeida Professor da ÉSML tem tido um papel extremamente importante na divulgação tenaz de obras “esquecidas” para voz e piano de importantes compositores portugueses. Ao longo destes anos estreou e gravou muitas composições de Fernando Lopes-Graça, Joly Braga Santos e Luís de Freitas Branco, Esta nova gravação, da NAXOS com interpretações na bela voz da soprano Susana Gaspar é também first world recording de duas coleções de canções populares inglesas (Op ) é francesas,( em perfeita sintonia com algumas das mais refinadas canções de câmara de Lopes-Graça a partir de poesias de Camões, Sá de Miranda e Pessoa.Na esteira dos volumes que o antecederam ,também na Naxos , este album dá a conhecer num alinhamento inteligente o refinamento do cancioneiro de Fernando Lopes-Graça.! .O booklet traz um excelente texto de Paulo Ferreira de Castro e uma adenda, perfeccionismo do solista explicando opções da performance . Foram 72 minutos deliciosos a ouvir as 19 canções de tal modo que irei voltar a ouvir várias vezes durante a semana e revisitar os álbuns anteriores .Imperdivel . Deixo-vos com a angústia e pungência do “Menino de sua mãe “

Y

[thesarahfiles]

Sarah's first solo album, “The Trees They Grow So High” was first released on December 28, 1988. It consists of European folk songs with arrangements by Benjamin Britten and accompanying piano by Geoffrey Parsons. It was later re-released as "Early One Morning" as part of the EMI  Classics For Pleasure collection, Sarah released it again as “The Trees They Grow So High” in 1998 for its 10th anniversary.

[sheetmusiclibrarypdf]

Nat King Cole "Smile" (1954) sheet music

Nat King Cole "Smile" - 1954 (with sheet music)

https://vimeo.com/464796095

Lyrics

Smile though your heart is aching Smile even though it's breaking When there are clouds in the sky you'll get by If you smile through your fear and sorrow Smile and maybe tomorrow You'll see the sun come shining through For you Light up your face with gladness Hide every trace of sadness Although a tear maybe ever so near That's the time you must keep on trying Smile- what's the use of crying You'll find that…

Smile: The song

"Smile" is a song based on an instrumental theme used in the soundtrack for Charlie Chaplin's 1936 film Modern Times. Chaplin composed the music, inspired by Puccini's Tosca. John Turner and Geoffrey Parsons added the lyrics and title in 1954. In the lyrics, based on lines and themes from the film, the singer is telling the listener to cheer up and that there is always a bright tomorrow, just as long as they smile. "Smile" has become a popular standard since its original use in Chaplin's film and has been recorded by numerous artists. The song was also recorded by Jimmy Durante as part of his album Jackie Barnett Presents Hello Young Lovers. His version is part of the soundtrack to the 2019 film Joker, starring Joaquin Phoenix and Robert De Niro. Judy Garland sang a version of "Smile" on The Ed Sullivan Show in 1963. The song was included in the soundtrack of Chaplin's 1992 biographical film, as covered by its lead actor Robert Downey Jr.

Sheet Music download Read the full article