The Broadway Melody of 1991

The Will Rogers Follies was Tune’s most opulent show, far different from the sleek, stylized minimalism of his recent musicals, with a score by Cy Coleman (music) and Betty Comden and Adolph Green (lyrics), and a book by Peter Stone, by this time a frequent Tune collaborator. The story of Will Rogers, the beloved, Oklahoma-born star of radio, vaudeville, and films, and one of the most popular headliners of the Ziegfeld Follies, was told as a series of routines played out on the stage of the Follies. This look back at a bygone theatrical era played to Tune’s strengths, and his staging recalled show business antecedents from the stage and screen updated with present-day flourishes. Tune’s staging feats were even more impressive because they were performed on a grand staircase that covered the entire expanse of the stage. The Will Rogers Follies opened during a moment of resurgent patriotism in the wake of the success of Operation Desert Storm. Following a decade in which British hits like Cats, Les Misérables, and The Phantom of the Opera dominated the Broadway musical, an air of jingoism and a determination to reclaim Broadway for American musicals hovered over the success of The Will Rogers Follies in 1991.

To Love Another Person Is To See the Face Of God

This chapter discusses the emergence of the through-song British musical, also known as “pop opera.” This can be dated from the afternoon of March 1, 1968, when parents (mainly mothers) of students at Colet Court School watched an end-of-term performance of a twenty-minute version of Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat. By 1991, Lloyd Webber and Rice had officially created the first performance in the history of pop opera which was Jesus Christ Superstar (1971). Lloyd Webber's ability to compose consistently in a single voice, or to eclecticize, in other words, to teach the audience to navigate the action through musical signifiers is not appreciated enough. Tim Rice's ease in “conversationalizing” the bigger-than-life figures that pop opera delights in is similarly underrated, because he makes it look easy. The biggest hit in this period of musical history is Les Misérables (1985). This show's saga started when Alain Boublil sees Superstar and decides to write something comparable. It was written with composer Claude-Michel Schönberg.

Enjolras Vampré and the character of Les Misérables

ABSTRACT Enjolras Vampré (1885-1938) was one of the pioneering neurologists in Brazil whose name is a tribute to one of the characters of the book Les Misérables (1862), written by Victor Hugo (1802-1885). In this article, the authors point out evidence that the coincident names were not just a matter of homage, and even more so, the life of Dr. Enjolras had many similarities with the interesting character.

A Motivator’s Act of Persuasion on Dynamic Characters in Les Miserables Novel’s Victor Hugo

The problem in this analysis is the motivator character from the story that he can change a lot of people around him. This motivator has brought the most of characters in the novel to become the better person. Not only have the people who love and respect him, but he also changed the people that hate him through his act of persuasion. In this study, the researcher applies the psychological analysis and genetic structuralism, it has a role to explain literary work as structure base on the elements that formed them, which are society and social life. The motivator has changed his character because the kindness of Bishop Myriel, Fantine has changed her character because the evil of Thénardier couples. Meanwhile, the other three characters, Javert, Cosette, and Marius, all of them have changed because the actions of Motivator through the act of persuasion. There are a lot of way to persuade others, and Motivators’ act of persuasion proves to be successful on this novel.

Automatic Narrative Summarization for Visualizing Cyber Security Logs and Incident Reports

Cyber security logs and incident reports describe a narrative, but in practice analysts view the data in tables where it can be difficult to follow the narrative. Narrative visualizations are useful, but common examples use a summarized narrative instead of the full story's narrative; it is unclear how to automatically generate these summaries. This paper presents (1) a narrative summarization algorithm to reduce the size and complexity of cyber security narratives with a user-customizable summarization level, and (2) a narrative visualization tailored for incident reports and network logs. An evaluation on real incident reports shows that the summarization algorithm reduces false positives and improves average precision by 41% while reducing average incident report size up to 79%. Together, the visualization and summarization algorithm generate compact representations of cyber narratives that earned praise from a SOC analyst. We further demonstrate that the summarization algorithm can apply to other types of dynamic graphs by automatically generating a summary of the Les Misérables character interaction graph. We find that the list of main characters in the automatically generated summary has substantial agreement with human-generated summaries. A version of this paper, data, and code is freely available at https://osf.io/ekzbp/.

STRATEGIES FOR TRANSLATING WESTERN LITERATURE INTO ARABIC BETWEEN DOMESTICATION AND FOREIGNIZATION

Translation is the core of human civilization. It consists in transferring texts from their original language to another making it perfectly harmonious in a foreign intellectual and cultural context, using methods and procedures that insure a translation as correct as possible. Considering the value of literature in constructing civilizations, we can clearly see that translation is as important as literature itself and even more. This is due to the fact that this later has always been an important factor in the prosperity and development of nations. In fact, literature is considered as the holder for people’s thoughts and culture, and a record of their history. Translating literary texts from a language to another is a difficult and challenging task not only because of their content, but also for the different styles, creative formats, and rhetoric used by the author. So, what are the difficulties that hinder the translator's work during the transfer of literary creativity? What kind of strategies should he choose to make a balance the forces attracting him while transferring foreign literature from Western languages to Arabic? Domestication or foreignization? And from there, we try in this paper to highlight some of the problems facing the literary translator, especially by observing and analyzing two Arabic translations by Hafiz Ibrahim and Munir Al-Baalbaki of the international French novel Les Miserables, entitled "strategies for translating Western literature into Arabic between domestication and foreignazation.

Hamilton—An American Musical

Many of the musicals Miranda and the Hamilton creative team suggest influenced the development of their musical (including Jesus Christ Superstar, Evita, and Les Misérables) stem from the United Kingdom and British (or European) creative teams. As a hybrid of European theatrical traditions that was first staged (or at least popularized) in Britain, the megamusical—along with Shakespeare’s plays—is one of Britain’s most recognizable theatrical exports. How American is Miranda’s musical, therefore, if it so frequently returns to megamusicals for structural and stylistic guidance? There is much about Hamilton that is American, yet its referencing of British musicals complicates the labeling of this show as an exclusively American musical. This chapter argues that Hamilton occupies a liminal space in that it is a hybrid of transatlantic traditions. Despite the referencing of British musicals seeming to complicate the show’s Americanness, Hamilton asserts its national identity through an amalgam of transatlantic influences and intertextual associations.

Vitagraph

For more than a century, the origin story of the American film industry has been that the founders of Paramount and Fox invented the feature film, that Universal created the star system, and that these three companies (along with the heads of MGM and Warner Bros.) were responsible for developing the multi-billion-dollar business we now know as Hollywood. Unfortunately for history, this is simply not true. Andrew A. Erish's definitive history of this important but oft-forgotten studio compels a reassessment of the birth and development of motion pictures in America. Founded in 1897, the Vitagraph Company of America (later known as Vitagraph Studios) was ground zero for American cinema. By 1907, it was one of the largest film studios in America, with notable productions including the first film adaptation of Les Misérables (1909); The Military Air-Scout (1911), considered to be one of the first aviation films; and the World War I propaganda film The Battle Cry of Peace (1915). In 1925, Warner Bros. purchased Vitagraph and all of its subsidiaries and began to rewrite the history of American cinema. Drawing on valuable primary material overlooked by other historians, Erish challenges the creation myths marketed by Hollywood's conquering moguls, introduces readers to many unsung pioneers, and offers a much-needed correction to the history of commercial cinema.