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From the St Anne's Classics Reunion. The role of costume in Roman comedy by Professor Matthew Leigh. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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"Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion, "Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion,

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Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Catherine Brown gives the second lecture in the DH Lawrence series. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Catherine Brown gives the second lecture in the DH Lawrence series. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Discussion on whether tragedy still exists in modern culture, whether in films, modern theatre or and other creative arts. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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ePub version of text The Comedie of Errors. / Shakespeare, William, 1564-1616. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Discussion on whether tragedy still exists in modern culture, whether in films, modern theatre or and other creative arts.

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http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches

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Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Emma Smith continues her Approaching Shakespeare series with a lecture on the play Love's Labour's Lost. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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This course is designed around analyzing what’s so funny and why is it that we laugh when we do. How is comedy characterized on the fictional page, the screen, and the stage? And what might the comic teach us about the self and culture(s), especially when we come to understand its patterns of transgression as confounding social norms through jokes and laughter? Tracking a history of comedy, beginning with the first Greek humorists, Aristophanes and Plautus, we will traverse genres, periods and cultures to reflect on various types of humor: satire, farce, slapstick, love, tragedy, parody, and screwball.

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Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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'There's one of us daft and I'm all right': English comedy and the geography of vulgarity- Andy Medhurst, Sussex University TATN

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Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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ELTA's collection ranges from 1827 to the present day, including playbills and programmes to press cuttings and photographs. It also has themed essays to contextualise the material and maps showing theatre locations.

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Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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This resource enables you to browse the collection using a map view.

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Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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In this course, the student will consider Dante’s literature for its stylistic and thematic contributions to the body of Medieval and Italian literature, as well as for its inventive appraisal of Christianity. The majority of the course is dedicated to Dante’s masterpiece: The Divine Comedy. This free course may be completed online at any time. See course site for detailed overview and learning outcomes. (English Literature 409)

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Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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This course will introduce the student to the range of drama written and performed in England and Continental Europe between roughly 1660 and 1800. The student will explore the major plays, players, and playhouses from this era in conjunction with a thorough and in-depth historical contextualization. The course will focus on Restoration and eighteenth-century drama from various nationalistic perspectives, investigating the various genres that were prevalent during that time period. This free course may be completed online at any time. See course site for detailed overview and learning outcomes. (English Literature 412)

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Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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Alderman John Grantham, Lord Mayor of Newcastle, grabs a bit to eat at the Race Week Festival, Newcastle upon Tyne, 22 June 1937 (TWAM ref. DF.GRA/5/3). These images belong to a series of albums documenting John Grantham?s service to the City of Newcastle upon Tyne as its Sheriff 1924-1925 and its Lord Mayor 1936-1937. John Grantham was born in Blyth in 1877 and became a cinema proprietor in Newcastle. He was elected to the City Council in 1912 and became an alderman in 1932. The albums give us an interesting insight into the duties of Lord Mayor and Sheriff as well as a fascinating picture of the times. 2016 is the 800th anniversary of the creation of Newcastle's Mayoralty and Burgesses. (Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk

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Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches

Subjects

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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"Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion,

Subjects

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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