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Adele Wiseman's The Sacrifice is usually interpreted -- quite correctly -- through its relatively blatant Biblical themes and symbols. But conversation is equally important to the novel, in terms of Wiseman's implicit ideas about art and morality. Her concept of art, as an extension of consciousness, is closely related to her idea of conversation as an expression of consciousness. Wiseman's use of the circle as symbol defines the relationship between artist and society. As well, language is a moral implement, and so must be used properly: Thus, when individuals in a community use the language in an ego-central rather than a public way, when they become monologuists rather than conversationalists, they become destructive to themselves, to the community, and to the language.
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AbstractLillie Langtry was the most controversial English stage performer to come to North America during the heyday of theatrical touring, c. 1880-1939. She returned frequently, to have her plays and performances almost invariably damned by critics and frequently by mayors. Yet the public was fascinated by Langtry and made her wealthy by crowding into Canadian and American theatres, attracted in part by rumours of her relationship with Edward, Prince of Wales. Langtry's brief visit to Windsor, Ontario, after The Degenerates was banned in Detroit in April 1900, illustrates the kind of controversy that she frequently aroused.
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Theatrical activity in Prince Edward Island can be dated to 1800 when the Charlotte-Town Amateur Theatre opened. Throughout the century, dramatic entertainment flourished in local performances, with professional touring companies arriving from the 1800s on. During the last two decades of the century, a group of theatre people seeking a retreat from the pressures of a New York winter season purchased land and founded the Fortune Bay Actor's Colony.