Ergebnis gesprochen von "Charlotte Duckett" in Alle Kategorien

Edith Nesbit's trilogy about a group of children who encounter a sand fairy and, through his intercession, embark on a wild round of adventures has been a staple of juvenile literature since the first volume was published in 1902. The three books are Five Children and It (1902), The Phoenix and the Carpet (1904), and The Story of the Amulet (1906).  

This play is the sequel to "Earth Spirit", in which the adventurous and manipulative Lulu marries and rids herself of three husbands, only to be arrested for the murder of the third. In "Pandora’s Box", Lulu escapes from prison only to be forced in the life of a courtesan. Reduced to desperate poverty, she meets her end at the hands of murderous customer in London. In Wedekind’s sordid morality tale, all Lulu’s main associates suffer premature and unnatural deaths, except for the degenerate Schigolch, who is one of the most unpleasant characters in the European drama.

Frank Wedekind (1864-1918) was the most controversial dramatist of his age. Most of his work focuses on the ubiquity and inevitably corrupting influence of sexual attraction. His most famous plays are the two that depict the rise, fall, and eventual gruesome death of the vampish Lulu, who, in Wedekind’s presentation, became a ghastly parody of Goethe’s “Eternal Feminine”. The first of the plays is Earth Spirit, in which Lulu marries and survives three husbands, only to face prosecution for the shooting of the third.

This is final installment in Edith Nesbit's classic trilogy of time-traveling adventures by four enterprising children.

In The Phoenix and the Carpet, five adventurous children are given a carpet that, unknown by their parents, contains a magic egg that hatches into a phoenix. A series of escapades ensues, some amusing, others dangerous and but all of which are entertaining.

While exploring the beach, four adventurous children make the acquaintance of a very odd creature: a sand fairy. When they have adapted to the brusque and forthright demeanor of the fairy, they discover that he has unusual powers, which he can be persuaded to demonstrate. As a result, the children enjoy many bizarre adventures, some of which are dangerous, but all of which are entertaining. Five Children and It is the first volume of a trilogy.

The premier Russian dramatist before Chekov, Alexander Ostrovsky was one of the first masters of realistic theatre. A typical example of his approach to drama, A Protégée of the Mistress is almost cinematic in its presentation. The action is represented by a series of vivid snapshots, in which Ostrovsky quickly and subtly illustrates the foibles and weaknesses of each character, and shows how they are forced into a hostile dependence on each other.

This book of autobiographies by Korean middle-school students is something that is needed for Korean studies and Korean-American studies, in my opinion. Because this book contains our voices, this book is very powerful. In a sense, we are documenting our own history. Because our lives are like the lives of other middle-school students who are Koreans, I believe that this book contains an important history for everyone who listens to this book.

Although he achieved notable success as a novelist, poet, essayist, and painter, August Strindberg is best known today as one of the first and most significant masters of naturalist theatre. Among his many dramatic works are a number of one-act plays, four of which are presented in this recording. All of the plays feature a persistent theme in Strindberg's works: the inevitable disillusion that results from intense involvement in relationships, whether they be familial, romantic or circumstantial.

Magdalena desperately wants to have a child and will go to extraordinary lengths to satisfy her desire for fertility. The patriarchal Arkon offers his assistance at a cost, but his deceptive behavior has dramatic consequences for all involved.

Grieving for a loved one can be a dangerous business, especially when the Devil offers to help soothe the pain. In this quirky radio drama, the Prince of Darkness gives his hapless victim rather more than he wants.

I always thought my demons came out in the day, rather than at night. I've never been scared of the dark. I've only ever been scared of real things: getting ill, having injections, physical pain...death. Those are my monsters, not ghosts or vampires or whatever else can hide under your bed at night.