David Lloyd George, Yma O Hyd

IHERING. CUADERNOS DE CIENCIAS JURÍDICAS Y SOCIALES ◽

10.51743/ihering.12 ◽

2018 ◽

pp. 201-215

Author(s):

Enrique San Miguel Pérez

Keyword(s):

Richard Burton ◽

Dylan Thomas

Hemos ganado la guerra, y hemos salvado el imperio". Y en efecto, fue así como un galés, educado en galés, fundó una "democracia imperial". E incluso, diría Gwyn Alf Williams, un "Gales imperial". Porque David Lloyd George, seguramente el más grande galés de la historia (con el permiso de Dylan Thomas, Richard Burton, Gareth Edwards y, por supuesto, "Harry, el rey") nació, al contrario que todos sus compatriotas rivales por la grandeza, en Inglaterra, y en plena Era victoriana

Download Full-text

Gwyn Thomas's Sap and Theatre Workshop's Oh What a Lovely War

New Theatre Quarterly ◽

10.1017/s0266464x11000467 ◽

2011 ◽

Vol 27 (3) ◽

pp. 272-282

Author(s):

Gwynne Edwards

Keyword(s):

First World War ◽

World War ◽

Royal Court ◽

The First World War ◽

Richard Burton ◽

Similarities And Differences ◽

Dylan Thomas ◽

First World

In the autumn of 1962 Gwyn Thomas, author of The Keep and Jackie the Jumper, two plays already staged at the Royal Court, delivered to the Theatre Royal, Stratford East, his script of Sap, a play with songs about the First World War. In March 1963, Joan Littlewood premiered at the Theatre Royal Oh What a Lovely War. Subsequently, Thomas felt that his ideas and research had been stolen, and because of the success of Oh What a Lovely War, Sap was not staged for another eleven years. In this article Gwynne Edwards discusses the circumstances surrounding these events and outlines the similarities and differences between the two plays. Gwynne Edwards has written extensively on Spanish theatre, in particular on the plays of Lorca, which he has also translated. More recently he has written plays based on the lives and work of Dylan Thomas, Gwyn Thomas, and Richard Burton. Burton was staged in Hollywood in 2010.

Download Full-text

The Halting Shadow

10.1093/oso/9780198729617.003.0011 ◽

2017 ◽

Author(s):

Deirdre David

Keyword(s):

Heart Failure ◽

Congestive Heart Failure ◽

Sexual Desire ◽

Respiratory Illness ◽

Perforated Ulcer ◽

Respiratory Illnesses ◽

Dylan Thomas ◽

One Year

The last years of Pamela’s life were marked by further illness but also by a remarkable dedication to work. She was hospitalized several times for respiratory illnesses, but in 1974 she published a book of autobiographical essays, Important to Me, which covered such topics as memories of her father, her relationship with Dylan Thomas, her visits to the USSR, and her friendship with other writers such as Edith Sitwell. After months of undiagnosed pain, Snow died in 1980 of a perforated ulcer and Pamela died almost one year later of congestive heart failure and respiratory illness exacerbated by having smoked since the age of fourteen. Yet characteristically she worked courageously until the very end on a novel published posthumously: A Bonfire, which similarly to her first novel deals explicitly with sexual desire. Her ashes were scattered at Stratford-upon-Avon, a place she visited every year on Shakespeare’s birthday.

Download Full-text

In Memoriam Dylan Thomas: Strawinsky's Schoenbergian Technique

Tempo ◽

10.1017/s0040298200052360 ◽

1955 ◽

pp. 13-20 ◽

Cited By ~ 2

Author(s):

Hans Keller

Keyword(s):

Present Article ◽

In Memoriam ◽

Dylan Thomas

Music examples usually illustrate articles, but the present article is no more than an illustration appended to my analytic music example of the complete central song from Strawinsky's most recent composition (Spring, 1954), In Memoriam Dylan Thomas. I think that writers on music should be encouraged to keep to the music, and seriously contend that all the adverse critics of Schoenberg's serial technique, and most of the writers who pass for serial experts, are incapable of a serial analysis and have only the very vaguest notion of what makes a serial piece “tick.” They quote a bar or two—usually from the opening of Schoenberg's 4th Quartet—where the note-row is fairly obvious or, anyway, has previously been uncovered by someone else, and then proceed to let obscure theory take the place of clear if complex practice. The reason is simple: they don't hear the row, and if you are unable to imagine a row aurally, it is very difficult, usually indeed impossible, to trace it throughout a piece. Let me hasten to add that I should not dream of reproaching any critic with his tone-row-deafness if he left it at that: for all we know, he may otherwise be a musical genius. If, however, he professes to talk serial “shop” at the same time, I raise the strongest moral objections.

Download Full-text