King Was Born, A | 20-96660

2012

Before we get into the chart delineation, a brief sketch of Sebastian's life is in order. The royal families of Europe are case studies in inbreeding. Sebastian of Portugal was the only son of Prince

The Lexham Bible Dictionary , 2016

KING, CRITICAL ISSUES Surveys the development of kingship in Israel and the ancient Near East and the Bible’s diverse presentations of kingship. Significance of Kingship in the Bible The concept of human kingship underlies the majority of biblical texts. For example: • Many verses metaphorically describe God as a king. • The idea of a king’s “rule” is central to the concept of the Messiah in the New Testament. • Following the period of the judges, God’s people were ruled by human kings.

Nordic Theatre Studies, 2014

The Swedish King Gustav III ruled from 1771 to 1792. His departure to the Russian war in 1788 was staged as a grandiose spectacle. The King, who was also a playwright, made the day of his departure coincide with the symbolic date of June 23. This was the date that Gustav II Adolph (ruled 1611-32) went off to the Thirty Years? W ar in 1628. The parallel between Gustav III and the great Swedish warrior King was further emphasized by his costume made in the style of Gustav Adolph. In this article, the author analyzes Gustav III's departure to war as a theatrical event and explores the borders of theatrical events in the late eighteenth century. Gustav III's ceremonial departure is placed in the framework of Nikolai Evreinov's and Yuri Lotman's theories of theatricality which show how the King applied theatrical means to everyday life in order to theatricalize it, i.e. to make it spectacular and symbolic. By theatricalizing life Gustav III idealized his role of king and thus performed his power. Theatricalization of political life not only adorned life but it also significantly changed reality; the theatrical playing of the King entailed real consequences - Gustav III enacted his role of a monarch in a memorable way and achieved his political goals. The interaction between politics and theater is the main focus of the article. The author also explores the poetics of theatrical playing in politics. Obviously, the relation between the King-performer and his subjects-spectators was different from the usual actor-spectator relation in the traditional theater. During the communication of the King-performer and his subjects-spectators the political context was of significant importance; the main purpose of such communication was political propaganda. As a result of his ceremonial departure and, eventually, the theatricalization of war, the King succeeded in becoming a national hero among the simple people, which proves the efficacy of theatrical means.

H-Net Reviews, 2023

CAML Review / Revue de l'ACBM

Reviewed by Ty Hall, Carleton University Music scholarship has progressively moved away from perceiving reggae as a homogenous conceptual category with a unidirectional evolution to embrace multi-faceted approaches that view it as a transnational hybrid. In King Alpha's Song in a Strange Land, professional Toronto-based reggae musician and historian Jason Wilson argues that rather than being a genre with a static mould fixed in Bob Marley's image, reggae is best understood through the lens of mobility. Tracing the roots and routes of Canadian reggae, Wilson demonstrates how music is built on a long history of reimagining and reinterpreting texts for different places and times. This insider's look at Toronto's reggae scene during its golden era between the late 1970s and early 1990s draws on personal experience, interviews, and historical accounts for a polyvocal report of productive crosscultural communication along Toronto's ethnic frontlines. With a nuanced account of reggae as a means for building and crossing cultural bridges, Wilson engages with issues that relate to specific notions of authenticity for a more comprehensive understanding of the genre.

Cracow Indological Studies, 2023

This essay examines the contextual, textual and musical content and considerations of Purple King, a song-cycle composed in 2010 and revised in 2014. As both the composer of the work and the author of the following commentary, I will not attempt to put forth an objective criticism of the work as though it is not my own. Rather, if successful, the reader of this essay should conclude with an understanding of the structural and creative processes underlying the composition.

Leeds Working Papers in Victorian Studies, Volume 15: Imagining the Victorians, 2016

2018

I found myself alone in my empty dorm room, having moved back to Scripps early. I had no friends back on campus yet, and nothing on my schedule. All I had, it seemed, was the infectious soundtrack of the musical The King and I stuck in my head, and a nagging curiosity that refused to leave me. I had seen a revival production of the show on tour the week prior, and still I could not forget its strong affective power, nor the bizarre sense of its relevance, despite the show being over sixty years old. As I went about my room, whistling a happy tune and miming the sweeping polka steps of "Shall We Dance?" I wondered how it was that this dated musical continued to appeal so powerfully to modern audiences. Suddenly, there was nothing I wanted more than to get to the bottom of this question. Yet how could I turn this vivid curiosity into a scholarly pursuit-a thesis, no less? With nothing but time on my hands, I took a deep dive into the library's holdings and resources. I soon found that many sources focused on either the historical inaccuracy of the protagonist's story, based off the memoirs of Anna Leonowens, or on the musical's gender dynamics. What interested me, though, was the musical as a compelling work of fiction, and the imperial power dynamics at play. Fortunately, the library catalog turned up a rather unusual source in Susan Morgan's book Bombay Anna , a revealing biography that looks at both the real-life Anna and her fictional counterpart. This source shaped the beginnings of my thesis, for it examines how myths, dreams, and fantasies have real historical impact by tying Anna's tale and The King and I to its American public and place within popular culture. Keeping this lens in mind, I was off to Special Collections. There, with the help of Curatorial Associate Ayat Agah, I made my first Reading Room request and accessed an original 1951 printing of The King and I libretto. It was an otherworldly feeling to be paging through a relic from a different era, one that was around when the musical first debuted. The libretto became my tie to the original musical and my portal to a bygone time. What I found inside was intriguing: the libretto differed strikingly from the 1956 movie version of The King and I , and was much closer to the revival production I had seen; furthermore, the stage directions were at times quite revealing about the Orientalist attitudes of the 1950s that even progressive creatives like Rodgers and Hammerstein were not immune to. These discoveries further spurred my research, and with the indispensable guidance of my professor and thesis advisor, Michelle Decker, I began to look into the historical and political conditions that influenced the musical's creation. Back down the rabbit hole of researching I went, shifting my focus to the Cold War and Americanization. Through the library catalog,