#elisabeth macmillan | Explore Tumblr Posts and Blogs

mimicofmodes · 2 years

Text

In the film "Portrait of a Lady on Fire," the protagonist is a female portraitist in 18th century France. She is portrayed as a respected professional, with significant personal and economic independence. Could a woman in 18th century Western Europe really have a professional career as an artist?

Yes, certainly! There were a number of respected eighteenth century female artists.

The most famous is Elisabeth Vigée Le Brun (1755-1842), the daughter of significantly less famous artist Louis Vigée, who died when she was little; she married a (male) painter as well. Relatively early in her career she became a portraitist to the nobility, and by the 1780s she was painting Marie Antoinette herself and a member of the Royal Academy of Painting and Sculpting. She fled the French Revolution and took up posts in other royal courts around Europe to support herself while keeping her stock high.

Angelica Kauffman (1741-1807) is another very big name in the eighteenth century art world. She was Swiss, and the daughter of a painter who trained her while they traveled around Europe, leading to her career starting at an early age. She was a member of multiple academies in different regions as well, from Florence to England.

But there are far too many for me to summarize them all: here is Wikipedia's category page for "eighteenth century women artists" on the site.

The question of how people could hold particular beliefs about women's inferiority to men while also having women with power or standing in their society comes up relatively frequently on AskHistorians. The fact is that gender is infinitely more complicated than a simple oppressed/oppressing dichotomy; rather than being completely marginalized by the men who dominated the art world of the eighteenth century, they found ways to make themselves part of the structure as well, though said men would rarely consider them as good as the best male artists. Several of the chapters in Women and Material Culture, 1660–1830 (Palgrave Macmillan, 2007) speak directly to the issue, making the point that women's participation in the arts went along with perceptions of what could be classified as "women's work".

Watercolors, miniatures, and wax- or cameo-carving, for instance, were easy for people to accept as fields for women because they were seen as delicate, requiring a graceful hand - similar to the way that once women began taking up positions in offices, using a typewriter was reclassified as something women would be inherently suited to as it was similar to playing the piano, a common feminine accomplishment. (Really!) People of the eighteenth century also found it relatively easy to accept "sculptresses" who did the creative work modeled in clay and had a man carve it in marble (though they were open to criticism of allowing those male assistants more creative license, and therefore the notion that they weren't really the creators of the works), and were more suspicious or scornful of women like Anne Damer (1748-1828) who wielded a hammer and chisel themselves, from remarks about the quality of their work to caricatures portraying them as too masculine.

But, that being said, they were still allowed to do their work, and were still commissioned and paid to do it, because their art was valuable and wanted. The average person doesn't not know any female artists from before 1850 because there weren't any, but because they were never allowed to be considered at the very top of their fields, and therefore weren't included in later retrospectives of the art canon.

#history #art history #18th century #portrait of a woman on fire #non-fashion

374 notes · View notes

fuckyeahpetercook · 2 years

Text

Who was that masked man? The man is Peter Cook, the mask is Harold Macmillan, the year is 1961, and the location is The Establishment!

This photo was captured during the peak of Cook's notoriety for his savage goofing (in the Beyond the Fringe revue) on then-Prime Minister Macmillan, once with the PM actually in the audience! Bold stuff!

The pic comes from an article by Elisabeth Luard (who married co-founder of The Establishment, Nicholas Luard, in 1962) in the November 2017 issue (#354) of The Oldie. (The caption in the magazine explains the bit of sign at the top right of the picture: The Establishment was "formerly Club Tropicana.")

#peter cook #the establishment #beyond the fringe #harold macmillan #1960s

10 notes · View notes

journeyintotheshelves · 5 years

Photo

Tuesday’s Treats is a weekly blog post dedicated to newly released books that I’m most excited for. (Books are in no particular order.)

All books featured this week will be released: JUNE 4th

1. This Time Will Be Different: Misa Sugiura (goodreads) (book depository)

CJ Katsuyama has always felt that she can’t live up to her mother’s type-A expectations. But she finally finds her place — and something she’s good at — when she starts helping her aunt at their family’s flower shop. Her world is shattered when her mom decides to sell the shop, and to make it worse, the family set to buy it is the same who took advantage of CJ’s grandparents when Japanese Americans were sent to internment camps during World War II.

A story about family, community, and fighting for what you believe in, This Time Will Be Different sounds like a great story that highlights a part of American history that is rarely talked about, but left a profound mark today.

YA Contemporary Fiction; HarperTeen/HarperCollins, Hardcover (US)

2. Sorcery of Thorns: Margaret Rogerson (goodreads) (book depository)

Elisabeth has known two things her whole life: that she wants to become a warden of one of Austermeer’s Great Libraries, and all sorcerers are evil. The books within the libraries are magical grimoires which can transform into beasts made of ink and leather. When the library’s most dangerous grimoire is released and Elisabeth is implicated in it’s release, she’s dragged to the capital to face justice. Forced to confide and depend on her enemy, a sorcerer named Nathaniel Thorn, Elisabeth learns things about her world, the libraries, and her own power within that will change everything.

YA Fantasy; McElderry Books/Simon & Schuster, Hardcover (US)

3. I Wanna Be Where You Are: Kristina Forest (goodreads) (book depository)

All Chloe wants to do is dance. But, when her mother forbids her to apply for a spot at her dream conservatory, Chloe will do anything to get a spot. Even drive two hundred miles with her annoying neighbor Eli and his smelly dog, Geezer.

Road trip books is and forever will be one of my favorite tropes, and are the perfect summer read. I cannot wait to dive into this one.

YA Contemporary Fiction, Romance; Roaring Brook Press/Macmillan, Hardcover (US)

4. If It Makes You Happy: Claire Kann (goodreads) (book depository)

Winnie is all set for college in the fall, but for the summer her plan is to work at her granny’s diner. What she doesn’t expect is Dallas, the boy she hates, but also kind of loves, an “un-girlfriend” Kara, and a kitchen fire that may throw all her plans — and her future — down the drain.

I’ve heard nothing but amazing things about Kann’s last book, Let’s Talk About Love, and I’m living for all the rep that’s in this one book. I cannot wait to dive into this one.

YA Contemporary Fiction, Romance, LGBTQIA+ ; Swoon Reads/Macmillan, Hardcover (US)

5. Like a Love Story: Abdi Nazemian (goodreads) (book depository)

Set in New York City in 1989, Nazemian’s Like a Love Story follows three teens, Reza, Judy, and Art, as they navigate life, love, and friendship during the AIDS epidemic.

YA Historical Fiction, LGBTQIA+; Balzer + Bray/HarperCollins, Hardcover (US)

6. The Rest of the Story: Sarah Dessen (goodreads) (book depository)

Emma doesn’t remember much about her mother, but she remembers the stories about the lake where her mother grew up, and where her mother and father met. But it turns out there are two lakes: North Lake, a more working class area where her mother grew up, and Lake North, a resort for the wealthy where her father vacationed. When she is unexpectedly sent to the lake and her grandmother’s house for the summer, she learns that there is more to the story — to herself and her family — than she thought.

YA Contemporary Fiction; Balzer + Bray/HarperCollins, Hardcover (US)

#books #Tuesday's Treats #new releases #this time will be different #misa sugiura #sorcery of thorns #margaret rogerson #i wanna be where you are #kristina forest #if it makes you happy #claire kann #like a love story #abdi nazemain #the rest of the story #sarah dessen

6 notes · View notes

magica-pseudoacademica · 6 years

Text

Christianity - Chapters

Last edited 2019-07-04

Becker, Michael. “Paul and the Evil One.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 127-141. London, UK: Bloomsbury, 2013.

Bernstein, Alan E. “The Ghostly Troop and the Battle Over Death: William of Auvergne (d. 1249) Connects Christian, Old Norse, and Irish Views.” In Rethinking Ghosts in World Religions, edited by Mu-chou Poo, 115-162. Leiden: Brill, 2009.

Birman, Patricia. “Sorcery, Territories, and Marginal Resistances in Rio de Janeiro.” In Sorcery in the Black Atlantic, edited by Luis Nicolau Páres and Roger Sansi, 209-231. Chicago, IL: University of Chicago Press, 2011.

Bozóky, Edina. “Mythic Mediation in Healing Incantations.” In Health, Disease and Healing in Medieval Culture, edited by Sheila Campbell, Bert Hall, and David Klausner, 84-92. New York: St. Martin’s Press, 1991.

* Cusack, Carole M. “Brigit: Goddess, Saint, ‘Holy Woman’, and Bone of Contention.” In On a Panegyrical Note: Studies in Honour of Garry W. Trompf, edited by Victoria Barker and Frances Di Lauro. Sydney, Australia: University of Sydney, 2007.

* DeConick, April D. “What Is Early Jewish and Christian Mysticism?” In Paradise Now: Essays on Early Jewish and Christian Mysticism, edited by April D. DeConick, 1-24. Atlanta, GA: Society for Biblical Literature, 2006.

Dochhorn, Jan. “The Devil in the Gospel of Mark.” In Evil and the Devil, edited by Ida Frölich, 98-107. London: Bloomsbury, 2013.

* Epstein, Mikhail. “Daniil Andreev and the Russian Mysticism of Femininity.” In The Occult in Russian and Soviet Culture, edited by Bernice Glatzer Rosenthal, 325-355. Ithaca: Cornell University Press, 1997.

* Fanger, Claire. “Complications of Eros: The Song of Songs in John of Morigny’s Liber Florum Celestis Doctrine.” In Hidden Intercourse: Eros and Sexuality in the History of Western Esotericism, edited by Wouter J. Hanegraaff and Jeffrey J. Kripal, 153-174. Leiden: Brill, 2008.

* –. “God’s Occulted Body: On the Hiddenness of Christ in Alan of Lille’s Anticlaudianus.” In Histories of the Hidden God: Concealment and Revelation in Western Gnostic, Esoteric, and Mystical Traditions, edited by April D. DeConick and Grant Adamson, 101-119. New York: Acumen, 2013.

* –. “Introduction: Theurgy, Magic, and Mysticism.” In Invoking Angels: Theurgic Ideas and Practices, Thirteenth to Sixteenth Centuries, edited by Claire Fanger, 1-33. University Park: Penn State University Press, 2012.

* –. “Magic.” In The Oxford Guide to the Historical Reception of Augustine, edited by Karla Pollman and Willemien Otten, 860-865. Oxford: Oxford University Press, 2013.

* –. “Necromancy, Theurgy, and Intermediary Beings.” In Oxford Bibliographies in Medieval Studies, edited by Paul Szarmach, 1-5. New York: Oxford University Press, 2013.

* –. “Sacred and Secular Knowledge Systems in the “Ars Notoria” and the “Flowers of Heavenly Teaching” of John of Morigny.” In Die Enzyklopadie Der Esoterik; Allwissenheitsmythen und universalwissenschaftliche Modelle in der Esoterik der Neuzeit, edited by Andreas Kilcher and Philipp Thiesohn, 157-75. Paderborn: Wilhelm Fink Verlag, 2010.

* Frankfurter, David. “The Threat of Headless Beings: Constructing the Demonic in Christian Egypt.” In Fairies, Demons, and Nature Spirits: “Small Gods” at the Margins of Christendom, edited by Michael Ostling, 57-78. Basingstoke, UK: Palgrave Macmillan, 2018.

Gaffney, James. “The Relevance of Animal Experimentation to Roman Catholic Ethical Methodology.” In Animal Sacrifices: Religious Perspectives on the Use of Animals in Science, edited by Tom Regan, 149-170. Philadelphia, PA: Temple University Press, 1986.

Gordon, Stephen. “Domestic magic and the walking dead in medieval England: A diachronic approach.” In The Materiality of Magic: An artifactual investigation into ritual practices and popular beliefs, edited by Ceri Houlbrook and Natalie Armitage, 65-84. Oxford: Oxbow Books, 2015.

Hakola, Raimo. “The Believing Jews as the Children of the Devil in John 8.44: Similarity As a Treat to Social Identity.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 116-126. London: Bloomsbury, 2013.

Hand, Wayland D. “Deformity, Disease, and Physical Ailment as Divine Retribution.” In Magical Medicine: The Folkloric Component of Medicine in the Belief, Custom, and Ritual of the Peoples of Europe and America, edited by Wayland D. Hand, 57-67. Berkeley: University of California,

Harrison, Beverly Wildung. “The Power of Anger in the Work of Love: Christian Ethics for Women and Other Strangers.” in Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 212-225. New York, NY: HarperCollins, 1989.

* Herzig, Tamar. “Stigmatized Holy Women as Female Christs.” In Archivio italiano per la storia della pietà 23, edited by Gábor Klaniczay, 149-174. Rome: Edizioni di Storia e Letteratura, 2013.

* Heyward, Carter. “Sexuality, Love, and Justice.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 293-301. New York, NY: HarperCollins, 1989.

Hutton, Ronald. “Afterword.” In Fairies, Demons, and Nature Spirits: “Small Gods” at the Margins of Christendom, edited by Michael Ostling, 349-356. Basingstoke, UK: Palgrave Macmillan, 2018.

Inclusive Language Lectionary Committee of the National Council of Churches. “Selections from The Inclusive Language Lectionary.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 163-169. New York, NY: HarperCollins, 1989.

Killen, Patricia O’Connell. “Conclusion: Religious Futures in the None Zone.” In Religion and Public Life in the Pacific Northwest: The None Zone, edited by Patricia O’Connell Killen and Mark Silk, 169-184. Walnut Creek: AltaMira Press, 2004.

Kornblatt, Judith Deutsch. “Russian Religious Thought and the Jewish Kabbala.” In The Occult in Russian and Soviet Culture, edited by Bernice Glatzer Rosenthal, 75-97. Ithaca: Cornell University Press, 1997.

Koskenniemi, Erkki. “Miracles of the Devil and His Assistants in Early Judaism and Their Influence on the Gospel of Matthew.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 84-97. London: Bloomsbury, 2013.

Labahn, Michael. “The Dangerous Loser: The Narrative and Rhetorical Function of the Devil as Character in the Book of Revelation.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 156-179. London: Bloomsbury, 2013.

Li, Shang-jen. “Ghost, Vampire, and Scientific Naturalism: Observation and Evidence in the Supernatural Fiction of Grant Allen, Bram Stoker and Arthur Conan Doyle.” In Rethinking Ghosts in World Religions, edited by Mu-chou Poo, 183-210. Leiden: Brill, 2009.

Linzey, Andrew. “The Place of Animals in Creation: A Christian View.” In Animal Sacrifices: Religious Perspectives on the Use of Animals in Science, edited by Tom Regan, 115-148. Philadelphia, PA: Temple University Press, 1986.

* Macfarlane, Alan. “A Tudor Anthropologist: George Gifford’s Discourse and Dialogue.” In The Damned Art: Essays in the Literature of Witchcraft, edited by Sydney Anglo, 140-155. Abingdon: Routledge, 2011.

* Martín Hernández, Raquel. “Appealing for Justice in Christian Magic.” In Cultures in Contact: Transfer of Knowledge in the Mediterranean Context: Selected Papers, edited by Sofía Torallas Tovar and Juan Pedro Monferrer-Sala, 27-41. Córdoba, Spain: Cordoba Near Eastern Research Unit, 2013.

Matter, E. Ann. “My Sister, My Spouse: Woman-Identified Women in Medieval Christianity.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 51-62. New York, NY: HarperCollins, 1989.

McFague, Sallie. “God as Mother.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 139-150. New York, NY: HarperCollins, 1989.

* Mildnerová, Kateřina. “’Obscene and diabolic and bloody fetishism’: European conceptualisation of Vodun through the history of Christian missions.” In Knowledge Production In and On Africa, edited by Hana Horáková and Kateřina Werkman, pp. 177-206. Zurich, Switzerland: Lit Verlag, 2016.

Nakashima Brock, Rita. “On Mirrors, Mists, and Murmurs: Toward an Asian American Thealogy.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 235-243. New York, NY: HarperCollins, 1989.

Newall, Venetia. “Birds and Animals in Icon-Painting Tradition.” In Animals in Folklore, edited by J. R. Porter and W. M. S. Russell, 185-207. Cambridge, Ipswich, and Totowa: D. S. Brewer and Rowman & Littlefield, 1978.

* Ostling, Michael. “Introduction: Where’ve All the Good People Gone?” In Fairies, Demons and Nature Spirits: “Small Gods” at the Margins of Christendom, edited by Michael Ostling, 1-53. New York: Springer, 2017.

Paxton, Frederick S. “Anointing the Sick and the Dying in Christian Antiquity and the Early Medieval West.” In Health, Disease and Healing in Medieval Culture, edited by Sheila Campbell, Bert Hall, and David Klausner, 93-102. New York: St. Martin’s Press, 1991.

Pereira, Luena Nunes. “Families, Churches, the State, and the Child Witch in Angola.” Sorcery in the Black Atlantic, edited by Luis Nicolau Páres and Roger Sansi, 187-208. Chicago, IL: University of Chicago Press, 2011.

Ruether, Rosemary Radford. “Sexism and God-language.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 151-162. New York, NY: HarperCollins, 1989.

Schüssler Fiorenza, Elisabeth. “In Search of Women’s History.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 29-38. New York, NY: HarperCollins, 1989.

Shibley, Mark A. “Secular But Spiritual in the Pacific Northwest.” In Religion and Public Life in the Pacific Northwest: The None Zone, edited by Patricia O’Connell Killen and Mark Silk, 139-167. Walnut Creek: AltaMira Press, 2004.

Soder, Dale E. “Contesting the Soul of an Unlikely Land: Mainline Protestants, Catholics, and Reform and Conservative Jews in the Pacific Northwest.” In Religion and Public Life in the Pacific Northwest: The None Zone, edited by Patricia O’Connell Killen and Mark Silk, 51-78. Walnut Creek: AltaMira Press, 2004.

Thistlethwaite, Susan Brooks. “Every Two Minutes: Battered Women and Feminist Interpretation.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 302-313. New York, NY: HarperCollins, 1989.

Thurén, Lauri. “1 Peter and the Lion.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 142-155. London: Bloomsbury, 2013.

Tzvetkova-Glaser, Anna. “’Evil Is Not a Nature’: Origen on Evil and the Devil.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 190-202. London: Bloomsbury, 2013.

Van Fleteren, Frederick. “Augustine and Evil.” In Evil and the Devil, edited by Ida Frölich and Erkki Koskenniemi, 180-189. London: Bloomsbury, 2013.

* Vidal, Fernando. “Ghosts of the European Enlightenment.” In Rethinking Ghosts in World Religions, edited by Mu-chou Poo, 163-182. Leiden: Brill, 2009.

Wellman, James K. “The Churching of the Pacific Northwest: The Rise of Sectarian Entrepreneurs.” In Religion and Public Life in the Pacific Northwest: The None Zone, edited by Patricia O’Connell Killen and Mark Silk, 79-105. Walnut Creek: AltaMira Press, 2004.

* Williams, Delores S. “Womanist Theology: Black Women’s Voices.” In Weaving the Visions: New Patterns in Feminist Spirituality, edited by Judith Plaskow and Carol P. Christ, 179-186. New York, NY: HarperCollins, 1989.

Wortley, John. “Three Not-So-Miraculous Miracles.” In Health, Disease and Healing in Medieval Culture, edited by Sheila Campbell, Bert Hall, and David Klausner, 160-168. New York: St. Martin’s Press, 1991.

Zier, Mark. “The Healing Power of the Hebrew Tongue: An Example from Late Thirteenth-Century England.” In Health, Disease and Healing in Medieval Culture, edited by Sheila Campbell, Bert Hall, and David Klausner, 103-118. New York: St. Martin’s Press, 1991.

#reference

2 notes · View notes

gramilano · 6 years

Text

Mayerling – Steven McRae as Prince Rudolf © ROH, 2018

Kenneth MacMillan’s darkly dramatic masterpiece, Mayerling, opens The Royal Ballet’s 2018/19 Season.

Featuring one of the most technically demanding male roles in classical ballet, Mayerling is based on the true story of the deaths of Crown Prince Rudolf of Austria and his teenage mistress Mary Vetsera which shocked the world in 1889.

Mayerling – Alexander Campbell as Bratfisch © ROH, 2017, photo by Alice Pennefather

Kevin O’Hare, Director of The Royal Ballet, says,

Regarded as one of Kenneth MacMillan’s finest works, Mayerling has been an integral part of The Royal Ballet’s repertory since its premiere in 1978. Its dark, brooding story is as resonant now as when created 40 years ago.

Royal Ballet Principal Ryoichi Hirano will make his debut in the role of Crown Prince Rudolf while newly-promoted First Soloists Fumi Kaneko and Mayara Magri will dance the role of Mitzi Caspar for the first time. Other debuts include First Soloist Tierney Heap and First Artist Nathalie Harrison as Empress Elisabeth and First Soloist Marcelino Sambé as Bratfisch.

Mayerling – Sarah Lamb as Mary Vetsera © ROH, 2017, photo by Alice Pennefather-01

Mayerling – Natalia Osipova as Mary Vetsera. © ROH, 2017, photo by Alice Pennefather

Mayerling – Lauren Cuthbertson as Mary Vetsera and Thiago Soares as Prince Rudolf © ROH, 2017, photo by Bill Cooper

Mayerling – Federico Bonelli as Prince Rudolf and Laura Morera as Mary Vetsera © ROH, 2017, photo by Alice Pennefather

Former Royal Ballet Principal Leanne Benjamin, who danced the role of Mary Vetsera for many years with the Company, has returned to the Royal Opera House to coach the lead female roles.

Designs by MacMillan’s long-time collaborator Nicholas Georgiadis bring the opulence of the Austro-Hungarian court to life while the sweeping score is an arrangement of Franz Liszt’s music by John Lanchbery.

Mayerling – Marianela Nunez as Mitzi Caspar © ROH, 2017, photo by Alice Pennefather

Mayerling – Sarah Lamb as Countess Marie Larisch © ROH, 2017, photo by Alice Pennefather

Mayerling – Federico Bonelli as Prince Rudolf © ROH, 2017, photo by Alice Pennefather

The Royal Ballet’s Mayerling will be shown in UK cinemas on 15 October 2018 with an encore screening on 21 October 2018. Mayerling will also be broadcast in cinemas around the world.

Sadly Edward Watson is injured. He will be replaced by Ryoichi Hirano as Crown Prince Rudolf for three performances of Mayerling on 8, 13 and 19 October. Ryoichi Hirano will be replaced by Matthew Ball as Crown Prince Rudolf for the matinee performance on 13 October and the evening performance on 20 October.

Mayerling – Steven McRae as Prince Rudolf © ROH, 2017, Photographed by Alice Pennefather

Photo Album – 40th anniversary performances of Kenneth MacMillan’s Mayerling Kenneth MacMillan’s darkly dramatic masterpiece, Mayerling, opens The Royal Ballet’s 2018/19 Season. Featuring one of the most technically demanding male roles in classical ballet, …

#Alexander Campbell #Edward Watson #Kenneth MacMillan #Matthew Ball #Mayerling #Royal Ballet #Steven McRae

1 note · View note

allpartofthejob · 2 years

Text

"Shame I have to perform an urgent bowel operation..." (S1E1 cocaine blues)

(Mac remastered - substitute for the draft two days ago...)

#mfmm #phryne fisher #miss fisher's murder mysteries #elisabeth macmillan #cocaine blues #adorable mac #mfmm edit

9 notes · View notes

todayclassical · 7 years

Text

September 22 in Music History

1720 Birth of German composer and harpsichordist Adolph Karl Kunzen.

1729 Birth of composer George Wilhelm Gruber.

1733 Birth of composer Anton Filtz.

1737 Death of Italian composer Francesco Mancini in Naples.

1767 Birth of Brazilian composer Jose Nunes Garcia in Rio de Janeiro.

1755 Birth of German composer and violinist Christian Kalkbrenner in Minden.

1854 Birth of American music critic and writer Henry T. Finck in Bethel, MO.

1869 FP of Wagner's Das Rheingold in Munich, without his permission. Conducted by Franz Wullner.

1870 Birth of soprano Georgette Bréjean-Silver.

1870 Birth of American Ragtime composer Arthur Pryor.

1871 Birth of Spanish soprano Josefina Huguet.

1871 Birth of German tenor Alois Burgstaller in Holzkirchen.

1872 Birth of English conductor and pianist Walter Henry Rothwell in London.

1872 Birth of composer Luis Villalba Munoz.

1875 Birth of Lithuanian composer and painter Mikolajus Ciurlionis.

1882 Birth of composer Emil Abranyi.

1883 Birth of Austrian music writer Robert Hernried.

1891 Birth of American tenor and composer Ralph Errolle in Chicago, IL.

1892 Birth of German-American baritone Herbert Janssen in Cologne.

1894 Birth of German soprano Elisabeth Rethberg.

1894 Birth of Rumanian composer Michel G. Andrico in Bucarest.

1894 Birth of composer Hieronim Feicht.

1900 Birth of Russian tenor Ivan Danilovich Jadan in Lugansk.

1904 Birth of Russia bass Alexei Ivanov in Chizhova.

1905 Death of French soprano Maria Celestine Galli-Marie' in Nice.

1910 Birth of composer Wlement Slavicky.

1917 Birth of Italian soprano Adriana Guerrini in Florence.

1918 Birth of Polish-Mexican violinist Henryk Szeryng.

1918 Birth of composer Archibald James Potter.

1922 Death of English baritone Sir Charles Santley, in London.

1926 Birth of American composer and clarinetist William Overton Smith.

1929 Birth of Canadian composer Serge Garant in Quebec City, Quebec.

1929 Birth of English violinist Hugh Bean in Beckenham, Kent.

1930 Birth of American avant-garde composer Roger Hannay in Plattsburgh.

1931 Birth of Italian conductor Nello Santi.

1931 Birth of English Opera director Colin Graham.

1933 Birth of Spanish composer Leonardo Balada in Barcelona.

1938 FP of A. Webern's String Quartet, Op. 28. Berkshire Chamber Music Festival, at South Mountain, Pittsfield, MA.

1940 Birth of composer Edward Boguslawski.

1941 Birth of Bulgarian soprano Anna Tomowa-Sintow in Stara Zagora.

1945 Birth of Italian tenor Maurizio Frusoni in Rome.

1946 Birth of English bass John Tomlinson in Oswaldtwistle, Lancashire.

1953 Birth of Russian baritone Vladimir Chernov.

1958 Birth of American composer Mark Kilstofte.

1961 Birth of American composer Michael Torke in Milwaukee, WI.

1963 Birth of Italian tenor Luca Canonici in Montevarchi.

1964 FP of Broadway musical Fiddler On the Roof.

1971 FP of S. Barber's The Lovers for solo voice and chorus, based on a poem by Pablo Neruda, in Philadelphia.

1988 Death of Hungarian composer Rezsõ Sugár in Budapest.

1989 Death of American composer Irving Berlin.

1990 FP of James MacMillan's The Beserking piano concerto. Peter Donohoue and the Royal Scottish Orchestra, Matthias Bamert conducting at Henry Wood Hall in Glasgow.

1990 FP of Christopher Rouse's Jagannath for orchestra. Houston Symphony Orchestra, Christoph Eschenbach conducting.

2000 FP of E. T. Zwilich's Millennium Fantasy for piano and orchestra. Jeffrey Biegel and Cincinnati Symphony, Jesús Lopez-Cobos conducting.

2000 FP of Philip Glass' Tirol Concerto for piano and orchestra. Dennis Russell Davies, pianist, and conductor with the Stuttgart Chamber Orchestra. 7th annual Klangspuren Festival in Schwaz, Tirol, Austria.

2001 Death of Russian-American violinist Isaac Stern.

#classicalmusic #musichistory #today in music history #todayclassical #onthisday

2 notes · View notes

grammargirl · 5 years

Text

Palgrave Macmillan executive editor Elisabeth Dyssegaard is from Denmark and also works as a translator. In this episode, we talked about how editing fiction is different from editing nonfiction, why couples often make the best translations, and more. https://t.co/cyMXdtcH3Q

— Mignon Fogarty (@GrammarGirl) May 13, 2019

#grammar #english

0 notes

differentcollectioncowboy-blog · 6 years

Text

writing my research paper jews in the 19th century The Vexing Jewish Question A Nineteenth-Century Scholar s View

As it is, Western Europe and the western hemisphere are threatened with a fresh invasion on the largest scale by the departure of Jews from Russia. INSTITUTE FOR HISTORICAL REVIEW. The Vexing 'Jewish Question': A Nineteenth-Century Scholar's View. By Goldwin Smith. Although today it is considered tactless if not hateful to speak openly of a "Jewish question," the often thorny matter of relations between Jews and non-Jews in society is a real issue that has bedeviled countless governments and scholars for centuries. In the following essay, a prominent British scholar tackles this issue with a forthrightness, perceptiveness and courage that is all too rare among academics in our own day. The author is Goldwin Smith (1823-1910), a prominent 19th-century educator, historian and author. He was educated at Oxford University, where he became regius professor of modern history in 1858. Moving to the United States in 1868, he joined the faculty of Cornell University as a professor of English literature and Constitutional History. He moved to Toronto in 1871, where he continued to write prolifically until his death. A "classic liberal," Smith was ardently pro-democratic, anti-imperialist and anti-militaristic. An enemy of slavery and an admirer of Abraham Lincoln, he championed the cause of the North during the American Civil War. His booklet, Does the Bible Sanction American Slavery? Britain. As a life-long supporter of "Anglo-Saxon" unity, he worked for close ties between Britain, the United States and Canada. According to the Encyclopaedia Britannica (1957 edition), Smith's "principal historical writings -- The United Kingdom: a Political History (1899), and The United States: an Outline of Political History (1893) -- make no claim to original research, but are remarkable examples of terse and brilliant narrative." The Columbia Encyclopedia (second edition) says that he "earned a position of great respect in the United States, Canada and Great Britain for his educational and social work." Among the available profiles of his life is a biography by Elisabeth Wallace, Goldwin Smith: Victorian Liberal (Univ. Toronto Press, 1957). The following essay, originally entitled "The Jewish Question," is reprinted here from the second, revised edition of his book, Essays on Questions of the Day, published in 1894 by Macmillan (New York and London), and reprinted in 1972 by Books for Libraries Press (Freeport, New York). In this bold sketch, Smith shows that the "Jewish Question" has persisted since ancient times -- over many centuries and in diverse cultures.... View more ...

0 notes

melbynews-blog · 6 years

Text

Königin Elisabeth: Oberhaupt des Commonwealth

Neuer Beitrag veröffentlicht bei https://melby.de/koenigin-elisabeth-oberhaupt-des-commonwealth/

Königin Elisabeth: Oberhaupt des Commonwealth

Für eine Frau, von der manche sagen, sie spreche selten, falls überhaupt, jemals laut aus, was sie wirklich denke, ist die Einmischung von Königin Elisabeth in die heikle Frage, wer ihr als Oberhaupt des Commonwealth nachfolgen solle, gelinde gesagt, untypisch. Während des Commonwealth Summit, der letzten Monat in London stattfand, erklärte sie, dass es ihr “sincere wish”, also ernsthafter Wunsch sei, dass ihr Sohn Prinz Charles ihren Platz einnehmen solle, wenn die Zeit gekommen sei. Die versammelten Delegationen aus 53 Ländern des Commonwealth, die 2,4 Milliarden Menschen, also ein Drittel der Menschheit repräsentierten, stimmten einhellig zu.

Wer mehr von dieser Regelung profitiert, die britische Königsfamilie oder der Commonwealth – ist strittig. Was mir aber bei der Produktion der BBC World –News Dokumentation What The Queen: Her Commonwealth Story klar wurde, ist: Die Commonwealth-Rolle Ihrer Majestät, der Königin von England, bietet ihr eine seltene Gelegenheit, bis zu einem gewissen Grad unabhängig zu agieren, was sie im eigenen Land nie könnte. Bei den Eröffnungsreden im Parlament werden ihr die Worte buchstäblich in den Mund gelegt. Das ist nicht der Fall, wenn sie als Oberhaupt des Commonwealth spricht. Man erkennt es an ihren Weihnachtsansprachen, die sich traditionell an den Commonwealth richten, und die sie ohne die Ratschläge der Minister ausformuliert. Im Jahr 1983 sagte die Queen nach einer Reise nach Südafrika, dass das größte Problem der Welt der Unterschied von reichen und armen Ländern sei. Könnte sie jemals ähnliches über die Ungleichheit im Vereinigten Königreich sagen? Das käme einer konstitutionellen Krise gleich.

Es ist ein Verdienst der über 60- jährigen Führung des Commonwealth durch die britische Königin, dass sie in den meisten Fällen Kontroversen vermeiden konnte, ob konstitutionelle oder andere. Das ist wahrlich ein Erfolg, wenn man die historischen Ereignisse während ihrer Regentschaft betrachtet. Die Queen überwachte den Wandel des Vereinigten Königreichs von der Kolonialmacht zu seiner heutigen Form, einer Inselnation, die gerade ihre Rolle in der Welt neu definiert. Indien, das Juwel in der Krone, mag für seine Unabhängigkeit vor ihrer Inthronisation gekämpft haben und diese auch erreicht haben. Aber es passierte so einiges im ehemaligen Empire – nicht zu vergessen, die „Winds of Change, die durch Afrika bliesen: Seit den späten 50er Jahren – mit 1957 Malaysia, Nigeria im Jahr 1960 oder St. Kitt & Nevis im Jahr 1983 – schrumpfte das ehemalige britische Weltreich wie ein Luftballon, bei dem man die Luft ablässt.

Stelle man sich in all dem einen meinungsgewaltigen oder wichtigtuerischen Monarchen vor. Wie wäre so jemand mit dem Übergang vom Weltreich zum Commonwealth umgegangen? Meiner Meinung nach wäre der Prozess aufreibender und erbitternder gewesen, hätte nicht die Queen ihren Einfluss geltend gemacht. Sie war Chef-Zuhörerin, nicht Chef-Rednerin. Sie machte sich viele, manche sogar unerwartete Freunde. Man denke an den großmächtigen ehemaligen australischen Premier Bob Hawke, der sich vergebens dafür einsetzte, dass Australien eine Republik würde, und damit die Queen als Head of State eliminieren wollte. Als ich ihn in seinem Büro traf, das einen Blick auf die Hafenbrücke von Sidney freigibt, sagte er mir, er habe unglaublichen Respekt vor ihr. Die Archivaufnahmen ihrer Commonwealth-Reisen und davon gibt es viele im BBC-Archiv, zu betrachten, heißt, Zeuge davon zu werden, wie aus einer scheuen Erscheinung mit wenig Selbstbewusstsein eine Frau wurde, die ihre Rolle geschickt spielte und mit großem Erfolg umsetzte. Man sollte auch daran denken, dass sie dies als Frau in einer Männer-dominierten Welt erreichte. Im Gespräch mit mir äußerte Prinzessin Anne, Queen Elisabeth spiele die Rolle eines Mannes “ehrenhalber”. Ich weiß, was sie meint, bin mir dabei aber nicht so sicher. Bei verschiedenen Gelegenheiten wurde mir versichert, dass genau diese Tatsache dazu führte, dass die Commonwealth-Politiker ihr vertrauten. Sie hat sich die Wertschätzung von Top-Politikern in aller Welt erworben, auch in Zeiten, in denen der Respekt vor der britischen Regierung nicht groß war.

Den eindeutigen Beweis hierfür lieferte die kontroverse Debatte über die Apartheid in Südafrika innerhalb des Commonwealth in den 1980er Jahren. Nahezu jedes Mitglied, darunter mächtige Staaten wie Indien, Kanada und Australien sprachen sich für Sanktionen aus. Dagegen sprach sich Premierministerin Margaret Thatcher aus. Dieser Disput drohte den Commonwealth auseinanderzubrechen. Bei einem Treffen von wichtigen Staatsführern in London im Jahr 1986 brach sie mit Konventionen und lud zum “Arbeitsessen” im Buckingham Palace am Vorabend des offiziellen Treffens. Acht Gäste saßen am Tisch, sieben waren für Sanktionen, einer dagegen: Frau Thatcher. Im Laufe des Dinners machte die Queen klar, dass sie einen Konsens ihres geliebten Commonwealth wünsche. Der damalige Generalsekretär Sir Shridath Ramphal, erzählt mir, dass jeder am Tisch wusste, an wen der Appell gerichtet war. Er fügte an, Frau Thatcher habe finster dreingeblickt. Diese Ansicht wurde auch von Sir William Heseltine, damaliger Privatsekretär der Queen, bestätigt. Er beschreibt ihre unerwartete Intervention als die „vielleicht mutigste politische Initiative des Jahrzehnts“.

Dies ereignete sich 30 Jahre, nachdem sie den Thron bestiegen hatte. Aber sie hatte diese unabhängigen Züge bereits früher an sich. Im Jahr 1961 zeigte sich die britische Macmillan-Regierung besorgt über ihre geplante Reise nach Ghana. Politische Unruhen- Bomben gingen hoch- so die Befürchtung, machten die Reise gefährlich, und man könne diese als Unterstützung eines wachsend autoritären Kwame Nkrumah missdeuten. Die Königin zeigte sich entschlossen. Sich bewusst, dass Ghanas erster Führer mit dem kommunistischen Block flirtete, bestand sie auf der Reise und verwies darauf, dass sie ihre Aufgabe beim Commonwealth sehr ernst nehme.

Diese Hingabe ist nicht geringer geworden, eher größer. Es wird schwer sein, ihre Nachfolge anzutreten. Die britische Königin hat einen Standard gesetzt, vor dem sich Prinz Charles messen lassen muss.

The Queen: Her Commonwealth Story wird am Samstag, den 12. Mai um 19.10 Uhr und am Sonntag, den 13.Mai um 12.10 Uhr auf BBC World News ausgestrahlt (deutsche Sendezeit)

Lesen Sie weitere Meinungen aus dieser Debatte von: Wolf Achim Wiegand, Hans-Olaf Henkel, Theresa Mary May.

Please enable JavaScript to view the comments powered by Disqus.

comments powered by

(function (d, s, id) var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "http://connect.facebook.net/de_DE/all.js#xfbml=1&appId=319847686728"; fjs.parentNode.insertBefore(js, fjs); (document, 'script', 'facebook-jssdk')); The European – Neuste Beitraege George Alagiah Quelle

قالب وردپرس

0 notes

redcarpetview · 6 years

Text

24th Annual Screen Actors Guild Awards Nominees

SAG Award Red Carpet View. Photo by Naomi Richard

Nominations Announced for the 24th Annual Screen Actors Guild Awards®

Ceremony Will Be Simulcast Live on Sunday, January 21, 2018, on TNT and TBS at 8 p.m. (ET)/5 p.m. (PT)

Para leer en español, haga clic aquí: sagawards.org/kNomsEsp

LOS ANGELES (Dec. 13, 2017) – Nominees for the 24th Annual Screen Actors Guild Awards ® for outstanding individual, cast and ensemble performances in film and television of 2017, as well as the honorees for outstanding action performances by film and television stunt ensembles were announced this morning at the Pacific Design Center’s SilverScreen Theater in West Hollywood.

SAG-AFTRA President Gabrielle Carteris introduced Olivia Munn ( X-Men: Apocalypse , The Predator ) and Niecy Nash ( Claws, The Soul Man ), who announced the nominees for this year’s Actors® live on TNT, TBS, truTV, tntdrama.com/sagawards , truTV.com and sagawards.org , TNT/TBS apps, and TNT/TBS Facebook, Twitter and YouTube channels. Prior to that, SAG Awards Committee Chair JoBeth Williams and Committee Member Elizabeth McLaughlin announced the honorees for outstanding action performances by film and television stunt ensembles.

The complete list of 24th Annual Screen Actors Guild Awards nominations follows this notice.

The 24th Annual Screen Actors Guild Awards® presented by SAG-AFTRA with Screen Actors Guild Awards, LLC is produced by Avalon Harbor Entertainment, Inc. and will be simulcast live on TNT and TBS on Sunday, Jan. 21, 2018 at 8 p.m. (ET) / 5 p.m. (PT). TNT & TBS subscribers can also watch the SAG Awards live through the networks' websites and mobile apps. In addition, TNT will present a special encore of the ceremony at 11 p.m. (ET)/8 p.m. (PT) that same evening.

Prior to the televised ceremony, the honorees for outstanding action performances by film and television stunt ensembles will be announced during the SAG Awards Red Carpet Pre-Show webcast.

One of the awards season’s premier events, the SAG Awards annually celebrates the outstanding motion pictures and television performances from the previous calendar year. Of the top industry honors presented to actors, only the SAG Awards are selected entirely by performers’ peers in SAG-AFTRA. The SAG Awards was the first televised awards show to acknowledge the work of union members and the first to present awards to motion picture casts and television ensembles.

Two nominating panels — one for television and one for film — each composed of 2,500 randomly selected union members from across the United States, chose this year’s nominees. Final voting information will be sent to the 121,544 SAG-AFTRA members in good standing across the country, who may vote on all categories. In keeping with the SAG Awards’ commitment to sustainable practices, online voting is encouraged and paper ballots are available only upon request received by Friday, Jan. 8, 2018. All votes must be received at Integrity Voting Systems by noon on Friday, Jan. 19. Results will be tallied and sealed until the envelopes are opened by the presenters live onstage at the 24th Annual Screen Actors Guild Awards ceremony on Jan. 21, 2018.

The Screen Actors Guild Post-Awards Gala benefiting the SAG-AFTRA Foundation will be hosted for the 22nd consecutive year by PEOPLE and the Entertainment Industry Foundation (EIF), joined this year by TNT & TBS, to honor the SAG-AFTRA Foundation and actors’ philanthropic activities. For more information about the SAG Awards®, SAG-AFTRA, TNT & TBS, visit sagawards.org/about.

Requests for photos and graphics for the 24th Annual Screen Actors Guild Awards should be addressed to [email protected]

Connect with the SAG Awards®

Hashtag: #sagawards Website: sagawards.org Facebook: facebook.com/sagawardsofficialpage/ Twitter: twitter.com/sagawards/ Google +: google.com/+SAGawards/ Instagram: instagram.com/sagawards/ Tumblr: sagawards.tumblr.com

The 24th ANNUAL SCREEN ACTORS GUILD AWARDS ® NOMINATIONS

The Theatrical Motion Picture Nominees are:

Outstanding Performance by a Female Actor in a Leading Role

JUDI DENCH / Queen Victoria – “VICTORIA & ABDUL” (Focus Features) SALLY HAWKINS / Elisa Esposito – “THE SHAPE OF WATER” (Fox Searchlight) FRANCES McDORMAND / Mildred – “THREE BILLBOARDS OUTSIDE EBBING, MISSOURI” (Fox Searchlight) MARGOT ROBBIE / Tonya Harding – “I, TONYA” (Neon) SAOIRSE RONAN / Lady Bird McPherson – “LADY BIRD” (A24)

Outstanding Performance by a Male Actor in a Leading Role

TIMOTHÉE CHALAMET / Elio – “CALL ME BY YOUR NAME” (Sony Pictures Classics) JAMES FRANCO / Tommy Wiseau – “THE DISASTER ARTIST” (A24) DANIEL KALUUYA / Chris Washington – “GET OUT” (Universal Pictures) GARY OLDMAN / Winston Churchill – “DARKEST HOUR” (Focus Features) DENZEL WASHINGTON / Roman J. Israel, Esq. – “ROMAN J. ISRAEL, ESQ.” (Columbia Pictures)

Outstanding Performance by a Female Actor in a Supporting Role

MARY J. BLIGE / Florence Jackson – “MUDBOUND” (Netflix) HONG CHAU / Ngoc Lan Tran – “DOWNSIZING” (Paramount Pictures) HOLLY HUNTER / Beth – “THE BIG SICK” (Amazon Studios) ALLISON JANNEY / LaVona Golden – “I, TONYA” (Neon) LAURIE METCALF / Marion McPherson – “LADY BIRD” (A24)

Outstanding Performance by a Male Actor in a Supporting Role

STEVE CARELL / Bobby Riggs – “BATTLE OF THE SEXES” (Fox Searchlight) WILLEM DAFOE / Bobby – “THE FLORIDA PROJECT” (A24) WOODY HARRELSON / Willoughby – “THREE BILLBOARDS OUTSIDE EBBING, MISSOURI” (Fox Searchlight) RICHARD JENKINS / Giles – “THE SHAPE OF WATER” (Fox Searchlight)| SAM ROCKWELL / Dixon – “THREE BILLBOARDS OUTSIDE EBBING, MISSOURI” (Fox Searchlight)

Outstanding Performance by a Cast in a Motion Picture

THE BIG SICK (Amazon Studios) ADEEL AKHTAR / Naveed HOLLY HUNTER / Beth ZOE KAZAN / Emily ANUPAM KHER / Azmat KUMAIL NANJIANI / Kumail RAY ROMANO / Terry ZENOBIA SHROFF / Sharmeen

GET OUT (Universal Pictures) CALEB LANDRY JONES / Jeremy Armitage DANIEL KALUUYA / Chris Washington CATHERINE KEENER / Missy Armitage STEPHEN ROOT / Jim Hudson LAKEITH STANFIELD / Andrew/Logan King BRADLEY WHITFORD / Dean Armitage ALLISON WILLIAMS / Rose Armitage

LADY BIRD (A24) TIMOTHÉE CHALAMET / Kyle Scheible BEANIE FELDSTEIN / Julie Steffans LUCAS HEDGES / Danny O’Neill TRACY LETTS / Larry McPherson STEPHEN McKINLEY HENDERSON / Father Leviatch LAURIE METCALF / Marion McPherson JORDAN RODRIGUES / Miguel McPherson SAOIRSE RONAN / Lady Bird McPherson ODEYA RUSH / Jenna Walton MARIELLE SCOTT / Shelly Yuhan LOIS SMITH / Sister Sarah Joan

MUDBOUND (Netflix) JONATHAN BANKS / Pappy McAllan MARY J. BLIGE / Florence Jackson JASON CLARKE / Henry McAllan GARRETT HEDLUND / Jamie McAllan JASON MITCHELL / Ronsel Jackson ROB MORGAN / Hap Jackson CAREY MULLIGAN / Laura McAllan

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (Fox Searchlight) ABBIE CORNISH / Anne PETER DINKLAGE / James WOODY HARRELSON / Willoughby JOHN HAWKES / Charlie LUCAS HEDGES / Robbie ŽELJKO IVANEK / Desk Sgt. CALEB LANDRY JONES / Red Welby FRANCES McDORMAND / Mildred CLARKE PETERS / Abercrombie SAM ROCKWELL / Dixon SAMARA WEAVING / Penelope

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

“BABY DRIVER” (TriStar Pictures and MRC) “DUNKIRK” (Warner Bros. Pictures) “LOGAN” (20 th Century Fox) “WAR FOR THE PLANET OF THE APES” (20 th Century Fox) “WONDER WOMAN” (Warner Bros. Pictures)

Red Carpet View Founder Naomi Richard in photo pit during 2016 SAG Awards. Photo by Richard Nichols.

The Television Nominees are:

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

LAURA DERN / Renata Klein – “BIG LITTLE LIES” (HBO) NICOLE KIDMAN / Celeste Wright – “BIG LITTLE LIES” (HBO) JESSICA LANGE / Joan Crawford – “FEUD: BETTE AND JOAN” (FX Networks) SUSAN SARANDON / Bette Davis – “FEUD: BETTE AND JOAN” (FX Networks) REESE WITHERSPOON / Madeline MacKenzie – “BIG LITTLE LIES” (HBO)

Outstanding Performance by a Male Actor in a Television Movie or Limited Series

BENEDICT CUMBERBATCH / Sherlock Holmes – “SHERLOCK: THE LYING DETECTIVE” (WGBH/Masterpiece) JEFF DANIELS / Frank Griffin – “GODLESS” (Netflix) ROBERT DE NIRO / Bernie Madoff – “THE WIZARD OF LIES” (HBO) GEOFFREY RUSH / Albert Einstein – “GENIUS” (National Geographic) ALEXANDER SKARSGÅRD / Perry Wright – “BIG LITTLE LIES” (HBO)

Outstanding Performance by a Female Actor in a Drama Series

MILLIE BOBBY BROWN / Eleven – “STRANGER THINGS” (Netflix) CLAIRE FOY / Queen Elizabeth II – “THE CROWN” (Netflix) LAURA LINNEY / Wendy Byrde – “OZARK” (Netflix) ELISABETH MOSS / Offred/June – “THE HANDMAID’S TALE” (Hulu) ROBIN WRIGHT / Claire Underwood – “HOUSE OF CARDS” (Netflix)

Outstanding Performance by a Male Actor in a Drama Series

JASON BATEMAN / Martin “Marty” Byrde – “OZARK” (Netflix) STERLING K. BROWN / Randall Pearson – “THIS IS US” (NBC) PETER DINKLAGE / Tyrion Lannister – “GAME OF THRONES” (HBO) DAVID HARBOUR / Jim Hopper – “STRANGER THINGS” (Netflix) BOB ODENKIRK / Jimmy McGill/Saul Goodman – “BETTER CALL SAUL” (AMC)

Outstanding Performance by a Female Actor in a Comedy Series

UZO ADUBA / Suzanne “Crazy Eyes” Warren – “ORANGE IS THE NEW BLACK” (Netflix) ALISON BRIE / Ruth Wilder – “GLOW” (Netflix) JANE FONDA / Grace Hanson – “GRACE AND FRANKIE” (Netflix) JULIA LOUIS-DREYFUS / Selina Meyer – “VEEP” (HBO) LILY TOMLIN / Frankie Bergstein – “GRACE AND FRANKIE” (Netflix)

Outstanding Performance by a Male Actor in a Comedy Series

ANTHONY ANDERSON / Andre “Dre” Johnson – “BLACK-ISH” (ABC) AZIZ ANSARI / Dev – “MASTER OF NONE” (Netflix) LARRY DAVID / Himself – “CURB YOUR ENTHUSIASM” (HBO) SEAN HAYES / Jack McFarland – “WILL & GRACE” (NBC) WILLIAM H. MACY / Frank Gallagher – “SHAMELESS” (Showtime) MARC MARON / Sam Sylvia – “GLOW” (Netflix)

Outstanding Performance by an Ensemble in a Drama Series

THE CROWN (Netflix) CLAIRE FOY / Queen Elizabeth II VICTORIA HAMILTON / Queen Elizabeth The Queen Mother VANESSA KIRBY / Princess Margaret ANTON LESSER / Prime Minister Harold Macmillan MATT SMITH / Philip, Duke of Edinburgh

GAME OF THRONES (HBO)

ALFIE ALLEN / Theon Greyjoy JACOB ANDERSON / Grey Worm PILOU ASBÆK / Euron Greyjoy HAFÞÓR JÚLÍUS BJÖRNSSON / The Mountain JOHN BRADLEY / Samwell Tarly JIM BROADBENT / Archmaester Ebrose GWENDOLINE CHRISTIE / Brienne EMILIA CLARKE / Daenerys Targaryen NIKOLAJ COSTER-WALDAU / Jaime Lannister LIAM CUNNINGHAM / Davos Seaworth PETER DINKLAGE / Tyrion Lannister RICHARD DORMER / Beric Dondarrion NATHALIE EMMANUEL / Missandei JAMES FAULKNER / Randyll Tarly JEROME FLYNN / Bronn AIDAN GILLEN / Petyr Baelish IAIN GLEN / Jorah Mormont KIT HARINGTON / Jon Snow LENA HEADEY / Cersei Lannister ISAAC HEMPSTEAD WRIGHT / Bran Stark CONLETH HILL / Varys KRISTOFER HIVJU / Tormund Giantsbane TOM HOPPER / Dickon Tarly ANTON LESSER / Qyburn RORY McCANN / The Hound STAZ NAIR / Qhono RICHARD RYCROFT / Maester Wolkan SOPHIE TURNER / Sansa Stark RUPERT VANSITTART / Yohn Royce MAISIE WILLIAMS / Arya Stark

THE HANDMAID’S TALE (Hulu)

MADELINE BREWER / Janine/Ofwarren/Ofdaniel AMANDA BRUGEL / Rita ANN DOWD / Aunt Lydia O-T FAGBENLE / Luke JOSEPH FIENNES / Commander Waterford TATTIAWNA JONES / Ofglen #2 MAX MINGHELLA / Nick Blaine ELISABETH MOSS / Offred/June YVONNE STRAHOVSKI / Serena Joy SAMIRA WILEY / Moira

STRANGER THINGS (Netflix)

SEAN ASTIN / Bob Newby MILLIE BOBBY BROWN / Eleven CARA BUONO / Karen Wheeler JOE CHREST / Ted Wheeler CATHERINE CURTIN / Claudia Henderson (Dustin’s Mom) NATALIA DYER / Nancy Wheeler DAVID HARBOUR / Jim Hopper CHARLIE HEATON / Jonathan Byers JOE KEERY / Steve Harrington GATEN MATARAZZO / Dustin Henderson CALEB McLAUGHLIN / Lucas Sinclair DACRE MONTGOMERY / Billy PAUL REISER / Dr. Owens WINONA RYDER / Joyce Byers NOAH SCHNAPP / Will Byers SADIE SINK / Max FINN WOLFHARD / Mike Wheeler

THIS IS US (NBC)

ERIS BAKER / Tess Pearson ALEXANDRA BRECKENRIDGE / Sophie STERLING K. BROWN / Randall Pearson LONNIE CHAVIS / Young Randall JUSTIN HARTLEY / Kevin Pearson FAITHE HERMAN / Annie Pearson RON CEPHAS JONES / William Hill CHRISSY METZ / Kate Pearson MANDY MOORE / Rebecca Pearson CHRIS SULLIVAN / Toby Damon MILO VENTIMIGLIA / Jack Pearson SUSAN KELECHI WATSON / Beth Pearson HANNAH ZEILE / Teenage Kate

Outstanding Performance by an Ensemble in a Comedy Series

BLACK-ISH (ABC) ANTHONY ANDERSON / Andre “Dre” Johnson MILES BROWN / Jack Johnson DEON COLE / Charlie Telphy LAURENCE FISHBURNE / Pops JENIFER LEWIS / Ruby PETER MACKENZIE / Mr. Stevens MARSAI MARTIN / Diane Johnson JEFF MEACHAM / Josh TRACEE ELLIS ROSS / Dr. Rainbow Johnson MARCUS SCRIBNER / Andre Johnson, Jr. YARA SHAHIDI / Zoey Johnson

CURB YOUR ENTHUSIASM (HBO)

TED DANSON / Himself LARRY DAVID / Himself SUSIE ESSMAN / Susie Greene JEFF GARLIN / Jeff Greene CHERYL HINES / Cheryl David JB SMOOVE / Leon Black

GLOW (Netflix)

BRITT BARON / Justine Biagi ALISON BRIE / Ruth Wilder KIMMY GATEWOOD / Stacey Beswick BETTY GILPIN / Debbie Eagan REBEKKA JOHNSON / Dawn Rivecca CHRIS LOWELL / Bash SUNITA MANI / Arthie Premkumar MARC MARON / Sam Sylvia KATE NASH / Rhonda Richardson SYDELLE NOEL / Cherry Bang MARIANNA PALKA / Reggie Walsh GAYLE RANKIN / Sheila the She-Wolf BASHIR SALAHUDDIN / Keith RICH SOMMER / Mark KIA STEVENS / Tammé Dawson JACKIE TOHN / Melanie Rosen ELLEN WONG / Jenny Chey BRITNEY YOUNG / Carmen Wade

ORANGE IS THE NEW BLACK (Netflix)

UZO ADUBA / Suzanne “Crazy Eyes” Warren EMILY ALTHAUS / Maureen Kukudio DANIELLE BROOKS / Tasha “Taystee” Jefferson ROSAL COLÓN / Ouija JACKIE CRUZ / Marisol “Flaca” Gonzales FRANCESCA CURRAN / Helen Van Maele DANIELLA DE JESÚS / Zirconia LEA DeLARIA / Big Boo NICK DILLENBURG / CO Blake ASIA KATE DILLON / Brandy Epps BETH DOVER / Linda Ferguson KIMIKO GLENN / Brook Soso ANNIE GOLDEN / Norma Romano LAURA GÓMEZ / Blanca Flores DIANE GUERRERO / Maritza Ramos EVAN ARTHUR HALL / CO Stratman MICHAEL J. HARNEY / Sam Healy BRAD WILLIAM HENKE / Desi Piscatella MIKE HOUSTON / CO Lee Dixon VICKY JEUDY / Janae Watson KELLY KARBACZ / Kasey Sankey JULIE LAKE / Angie Rice SELENIS LEYVA / Gloria Mendoza NATASHA LYONNE / Nicky Nichols TARYN MANNING / Tiffany “Pennsatucky” Doggett ADRIENNE C. MOORE / Cindy Hayes MIRIAM MORALES / Pidge KATE MULGREW / Galina “Red” Reznikov EMMA MYLES / Leanne Taylor JOHN PALLADINO / Josh MATT PETERS / Joel Luschek JESSICA PIMENTEL / Maria Ruiz DASCHA POLANCO / Dayanara Diaz LAURA PREPON / Alex Vause JOLENE PURDY / Stephanie Hapakuka ELIZABETH RODRIGUEZ / Aleida Diaz NICK SANDOW / Joe Caputo ABIGAIL SAVAGE / Gina Murphy TAYLOR SCHILLING / Piper Chapman CONSTANCE SHULMAN / Yoga Jones DALE SOULES / Frieda Berlin YAEL STONE / Lorna Morello EMILY TARVER / CO Artesian McCullough MICHAEL TORPEY / CO Thomas Humphrey LIN TUCCI / Anita DeMarco

VEEP (HBO)

DAN BAKKEDAHL / Roger Furlong ANNA CHLUMSKY / Amy Brookheimer GARY COLE / Kent Davison MARGARET COLIN / Jane McCabe KEVIN DUNN / Ben Cafferty CLEA DUVALL / Marjorie Palmiotti NELSON FRANKLIN / Will TONY HALE / Gary Walsh JULIA LOUIS-DREYFUS / Selina Meyer SAM RICHARDSON / Richard Splett PAUL SCHEER / Stevie REID SCOTT / Dan Egan TIMOTHY SIMONS / Jonah Ryan SARAH SUTHERLAND / Catherine Meyer MATT WALSH / Mike McLintock

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series

GAME OF THRONES (HBO) GLOW (Netflix) HOMELAND (Showtime) STRANGER THINGS (Netflix) THE WALKING DEAD (AMC)

LIFE ACHIEVEMENT AWARD

54th SAG Life Achievement Award

MORGAN FREEMAN

# # #

#Film #TV #Television #SAG Awards #2018 SAG Awards #24th Annual Screen Actors Guild Awards #24TH SAG AWARDS #2018 sag award nominations #Naomi Richard #Naomi Jean Richard #NaomiJRichard

0 notes