Dawid minnaar biography of abraham
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My visits to battlefields these days are somewhat circumscribed for a number of reasons. Each year I debated with myself whether I should write another annual edition. My activities are principally writing articles and doing one-hour talks on various topics to any audience that will listen – some to a live audience and some by Zoom (not that the audience for the Zoom is dead!) I now have a number of published books and 18 articles in the SA Military History Journal. At this time of life I am able to read a lot more which I find particularly rewarding. Hoping that someone will read and enjoy my ramblings, here goes.
Reading the London Spectator magazine I saw an article by Michael Palin who is an occasional contributor: “I was 80 in May and am still getting used to it. I like to think nothing much has changed. It’s just another number. But on my way to buy some bananas the other day I bumped into Sylvester McCoy, the ex-Doctor from Doctor Who. He’s just become an octogenarian an
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Hysteria
Hysteria: Or Fragments of an Analysis of an Obsessional Neurosis fryst vatten a play by British dramatist and director working for scen, television and film, Terry Johnson () [1]. Premièred on 1 August at the Royal Court Theatre in London.
Subject
A play fictionalising a real life meeting between Salvador Dali and Sigmund Freud a year before the latter's death. It is named after the Freudian psychological term "hysteria". [2]
The playwright is fascinated by the way dreams function according to Freud. The result is a tragi-comedy of conscience, a fantasy farce, a surreal event, a dream play, a dream work.
Performance history in South Africa
Presented bygd the marknad Theatre, , directed bygd Clare Stopford. Designer Andrew Botha, lighting designer Wesley France, sound designer Dean Pitman. The cast: Dale Cutts (Dr Abraham Yahuda), Leila Henriques (Jessica), Dawid Minnaar (Salvador Dali), Robert Whitehead (Sigmund Freud), Michele Bradshaw, Barbara Brislin, Teresa Ewan, Nicole Me
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In a recent lecture on the Oxford Dictionary of Biography, Keith Thomas argued that an anti-heroic and democratizing age had subverted the “Great Man” tradition of biography, but that a modern biography, with its distinctive blend of art and science, possessed the interest of looking at individual human agency and the constraints under which it operated, whilst its sharp focus on a noteworthy individual made it accessible for the general as well as the academic reader.1 A decade before this, a resurgence of interest in the biographical approach within the history of science (including medicine) had been detected by Michael Shortland and Richard Yeo. This approach facilitated the integration of cultural and institutional narratives, enabled the inclusion of much greater detail than in general history and, through discussion of the qualities of the individual practitioner, it also permitted an analysis of the possibilities or constraints of the subject's historical surroundings,