Edward Lear in Greece

Edward Lear in Greece
Edward Lear toured Albania, Epirus, Macedonia and Thessaly in the spring-autumn of 1848. Accompanied by his Greek “Dragoman” -an interepreter who was proficient in ten languages- he explored the unknown and intriguing corners of -what was still then known as- “Turkey in Europe”…

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There Was an Old Man with a Beard

[minstrels] There Was an Old Man with a Beard — Edward Lear
Lear’s limericks are defined, arrgh, ‘*boring*’: an heresy in an otherwise wonderful site.

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The Akond of Swat

[minstrels] The Akond of Swat — Edward Lear

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The Great Panjandrum

[minstrels] The Great Panjandrum — Samuel Foote
Another classic of Nonsense literature.

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The Owl and the Pussy-Cat

[minstrels] The Owl and the Pussy-Cat — Edward Lear
See the previous item.

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The Pobble Who Has No Toes

[minstrels] The Pobble Who Has No Toes — Edward Lear
The Lear poem with a short, but funny, commentary.

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Die Unart des Artig-Seins

Die Unart des Artig-Seins
Hans Magnus Enzensberger richtete fur Kinder im Residenzhof einen “Kompletten Nonsens” ein und sprach selbst sogar mit der Stimme der Fische.
[In German, about a show held in Saltzburg in August 1999 which included sung translations of Lear poems.]
Salzburger Nachrichten

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A Century of American Puppetry

PUNCH’S PROGRESS: A CENTURY OF AMERICAN PUPPETRY
November 19-December 31
Special Exhibition Galleries
The Detroit Institute of Arts
The character of Punch first appeared in America prior to the Revolutionary War when his destruction by a dog at a local fair was reported in the Virginia Gazette. Since that time, the art of puppetry has become a significant part of American popular culture, repeatedly adapting to shifting audience interests as well as the introduction of motion pictures and television. Punch’s Progress: A Century of American Puppetry traces the changing face of American Puppetry from 1850 to 1950, with examples from The Detroit Institute of Arts’ Paul McPharlin Collection of Puppetry and Theatre Arts.

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Destiny of a great decadent

Destiny of a great decadent
Roussel’s main literary output comprised the two novels Locus Solus and Impressions d’Afrique, adaptions of his fiction for theatre, the long poem Nouvelles Impressions d�Afrique, and a posthumously published work in which he set out to elucidate his abstruse compositional methods. Like Proust, Roussel paid for the publication of his books, and while his work invited either ridicule or neglect from the mainstream, it attracted serious attention from the surrealists, and in particular Breton, Dali and Duchamp.
The Times

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Per chi vota il Mago di Oz

Per chi vota il Mago di Oz
Ma ci sono altre interpretazione nella lunga storia degli studi su Oz. Una � arrivata in Italia sulle pagine di �Ideazione�, il pensatoio del centro destra, che ha rievocato il centenario nel numero sulle �Virt� del populismo�, dedicato a questa parola tab� che esprime abitualmente il �lato oscuro della politica� ed � sempre usata come insulto. In certe sue incarnazioni storiche, afferma Alessandro Campi, �il populismo ha anche significato affermazione di un�autentica sovranit� popolare�, contro le �lites. E la faccenda, in questi termini, investe la politica italiana, dalle �derive populiste� imputate a Berlusconi alle interpretazioni in questo senso di personaggi come Di Pietro, Bossi, per non parlare di Haider. Certo la verde citt� degli Smeraldi non � la Padania leghista. E� Washington, spiega Consuelo Angi� nel saggio sul Mago di Oz. Nel libro confluisce l�ideologia del populismo americano di fine 800, momento di dura contrapposizione economica negli Usa.
La Stampa – Libri

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