Soong May-ling Soong May-ling or Soong Mei-ling, also known as Madame Chiang Kai-shek or Madame Chiang (traditional Chinese: 宋美齡; simplified Chinese: 宋美龄; pinyin: Sòng Měilíng; March 5, 1898[1] – October 23, 2003) was a First Lady of the Republic of China (ROC), the wife of Generalissimo and President Chiang Kai-shek. She was a politician, painter and the chairman of Fu Jen Catholic University. The youngest and the last surviving of the three Soong sisters, she played a prominent role in the politics of the Republic of China and was the sister-in-law of Sun Yat-sen, the leader of the Republic of China preceding her husband. Childhood and Education[edit] She was born in Hongkou District, Shanghai, China, on March 5, 1898, though some biographies give the year as 1897, since Chinese tradition considers one to be a year old at birth.[3] She was the fourth of six children of Charlie Soong, a wealthy businessman and former Methodist missionary from Hainan, and his wife Ni Kwei-tseng. Madame Chiang[edit]
Latest Shows | Madness Radio Theatre of the Absurd Critic Martin Esslin coined the term in his 1960 essay "Theatre of the Absurd." He related these plays based on a broad theme of the Absurd, similar to the way Albert Camus uses the term in his 1942 essay, "The Myth of Sisyphus".[2] The Absurd in these plays takes the form of man’s reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Though the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to Vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play". Origin[edit] Significant precursors[edit] Elizabethan - Tragicomedy[edit] Formal experimentation[edit] Pataphysics, Surrealism, and Dadaism[edit]
Jean Cocteau Early life[edit] Cocteau was born in Maisons-Laffitte, Yvelines, a village near Paris, to Georges Cocteau and his wife, Eugénie Lecomte; a socially prominent Parisian family. His father was a lawyer and amateur painter who committed suicide when Cocteau was nine. He left home at fifteen. He published his first volume of poems, Aladdin's Lamp, at nineteen. Early career[edit] Friendship with Raymond Radiguet[edit] There is disagreement over Cocteau's reaction to Radiguet's sudden death in 1923, with some claiming that it left him stunned, despondent and prey to opium addiction. The Human Voice[edit] Cocteau's experiments with the human voice peaked with his play La Voix humaine. According to one theory about how Cocteau was inspired to write La Voix humaine, he was experimenting with an idea by fellow French playwright Henri Bernstein.[6] Maturity[edit] Tribute to René Clair: I Married a Witch, Jean Cocteau (1945), a set design for the Théâtre de la Mode. Biographer James S. Filmography[edit]
Ivan Pavlov Ivan Petrovich Pavlov (Russian: Ива́н Петро́вич Па́влов, IPA: [ɪˈvan pʲɪˈtrovʲɪt͡ɕ ˈpavləf] ( ); 26 September [O.S. 14 September] 1849 – 27 February 1936) was a Russian physiologist known primarily for his work in classical conditioning. From his childhood days Pavlov demonstrated intellectual brilliance along with an unusual energy which he named "the instinct for research".[1] Inspired by the progressive ideas which D. I. Early life and schooling[edit] The Pavlov Memorial Museum, Ryazan: Pavlov's former home, built in the early 19th century[5] Ivan Pavlov, the eldest of eleven children,[6] was born in Ryazan (now the Central Federal District) of the Russian Empire. Pavlov attended and graduated from the Ryazan Church School before entering the local theological seminary. Ivan Pavlov Career[edit] After completing his doctorate, Pavlov went to Germany where he studied in Leipzig with Carl Ludwig in the Heidenhain laboratories in Breslau. Married life and family problems[edit] Legacy[edit]
Ashkenazi Jews rank smartest in world - Israel Jewish Scene, Ynetnews Studies show descendants of Jews from Medieval Germany, throughout Europe have IQ 20% higher than global average Is it possible for your ancestry, religious affiliation, or nationality to determine your intellect? According to a study performed by Cambridge University called, "From Chance to Choice: Genetic and Justice," Ashkenazi Jews have a median IQ of 117. That’s 10 points higher than the “accepted” IQ of their biggest competition, Northeast Asia, and 20% higher than the global average. Reprinted with permission from Shalom Life
Joan Littlewood Joan Maud Littlewood (6 October 1914 – 20 September 2002) was an English theatre director, best known for her work in developing the left-wing Theatre Workshop. She has been called "The Mother of Modern Theatre".[1] She also conceived and developed the Fun Palace in collaboration with architect Cedric Price, an experimental model of a participatory social environment that, although never realized, has become an important influence in the architecture of the 20th and 21st centuries.[citation needed] Early years[edit] Littlewood was born at Stockwell, London, and trained as an actress at RADA, but left after an unhappy start and moved to Manchester in 1934, where she met folksinger Jimmie Miller, who would later become known as Ewan MacColl. Career[edit] In 1941, Littlewood was banned from broadcasting on the BBC. Later life[edit] After Raffles's death in 1975, Littlewood left Theatre Workshop and stopped directing. References[edit] Further reading[edit] External links[edit]
Futurism Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of Modern Art, New York §Italian Futurism[edit] Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti.[1] Marinetti launched the movement in his Futurist Manifesto,[3] which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia, an article then reproduced in the French daily newspaper Le Figaro on Saturday 20 February 1909.[4][5] He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, religion, clothing and cooking.[6] §Russian Futurism[edit]
Walter Lewin Walter H. G. Lewin, Ph.D. (born January 28, 1936) is a Dutch astrophysicist and professor emeritus of physics at the Massachusetts Institute of Technology. Lewin's major contributions in astrophysics include the discovery of the first slowly rotating neutron star through all-sky balloon surveys, research in X-ray detection in investigations through satellites and observatories worldwide. Early life and education[edit] Lewin was born Walter Hendrik Gustav Lewin to parents Walter Simon Lewin and Pieternella Johanna van der Tang in 1936 in The Hague, Netherlands. Lewin earned his Ph.D. degree in nuclear physics in 1965 at the Delft University of Technology in the Netherlands. Academic career[edit] He joined the X-ray astronomy group at MIT and conducted all-sky balloon surveys with George W. In October 1967 when Scorpius X-1 was observed, an X-ray flare was detected. Lewin was co-investigator on the Small Astronomy Satellite 3 (SAS-3) project. Society memberships[edit] Awards[edit]
Occupy Wall Street | NYC Protest for American Revolution Theatre of Cruelty The Theatre of Cruelty (French: Théâtre de la Cruauté) is a surrealist form of theatre theorised by Antonin Artaud in his book The Theatre and its Double. "Without an element of cruelty at the root of every spectacle," he writes, "the theatre is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds." Theory[edit] Artaud BNF Antonin Artaud spoke of cruelty (French: cruauté) not in the sense of violent behaviour, but rather the cruelty it takes for actors to show an audience a truth that they do not wish to see. Artaud thought that society and the world of theatre had become an empty shell. "ARTAUD THE LANGUAGE OF CRUELTY Writing from the experience that masterpieces are accomplices of power. Productions and staging[edit] Artaud wanted to “abolish the stage and auditorium,” and to do away with sets and props. Modern philosophical application[edit] See also[edit] External links[edit] References[edit] Antonin Artaud, Mary C.