Journal articles: 'Sweeney Todd'

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Sáez-González, Jesús Miguel. "Sweeney Todd (Tim Burton)." Vivat Academia, no. 93 (March 15, 2008): 11. http://dx.doi.org/10.15178/va.2008.93.11-12.

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Crone, Rosalind. "From Sawney Beane to Sweeney Todd." Cultural and Social History 7, no. 1 (2010): 59–85. http://dx.doi.org/10.2752/147800410x477340.

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Mollin, Alfred. "Mayhem and Morality in Sweeney Todd." American Music 9, no. 4 (1991): 405. http://dx.doi.org/10.2307/3051688.

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Davis, Jim. "Afterword: The Cannibalisation of Sweeney Todd." Nineteenth Century Theatre and Film 38, no. 1 (2011): 86–91. http://dx.doi.org/10.7227/nctf.38.1.8.

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Haugtvedt, Erica. "Sweeney Todd as Victorian Transmedial Storyworld." Victorian Periodicals Review 49, no. 3 (2016): 443–60. http://dx.doi.org/10.1353/vpr.2016.0027.

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McGill, Craig M. "Sweeney Todd: Hypertexuality, intermediality and adaptation." Journal of Adaptation in Film & Performance 7, no. 1 (2014): 41–63. http://dx.doi.org/10.1386/jafp.7.1.41_1.

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Octavita, Astri Indriana, Tiarma Ika Yuliana, M. Ali Ghufron, and Rima Novia Ulfa. "Psychopath Analysis in Sweeney Todd Movie." Candradimuka: Journal of Education 1, no. 2 (2023): 50–59. http://dx.doi.org/10.60012/cje.v1i2.47.

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Movie is loved by almost people in the world. Many messages can be delivered on a movie. In this case, the writer wants to examine the movie entitled “Sweeney Todd: The Demon Barber of Fleet Street by Tim Burton in 2007. This movie is a drama musical thriller genre because it contains many mysteries that must be paid more attention to understand about the psychological of Todd as the main character. The purpose of this research is to find out the psychopath characteristics of main character. The method that the writer used is qualitative method, after analyzing all the data the writer found that there are 5 characteristics of psychopath, which are: Aggressivity, Criminality, Lying, Violation of the right of others and Behavior that indicates apparent lack of guilty, anxiety and remorse do not have a sense of empathy. The most dominant characteristics of psychopath is Aggressivity.

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Uzal, Marcos. "Sweeney Todd, De la mort des marionnettes." Vertigo 33, no. 1 (2008): 38. http://dx.doi.org/10.3917/ver.033.0038.

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Weltman, Sharon Aronofsky. "Introduction: George Dibdin Pitt's 1847 Sweeney Todd." Nineteenth Century Theatre and Film 38, no. 1 (2011): 1–22. http://dx.doi.org/10.7227/nctf.38.1.4.

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Mack, Robert L. "Confronting the ‘Real’ Sweeney Todd: a Personal Journey of Discovery." Victorian Popular Fictions Journal 4, no. 2 (2023): 136–45. http://dx.doi.org/10.46911/ukud3206.

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Robert L. Mack’s coda, a memoir in miniature, demonstrates why penny fiction should matter to global popular audiences today. Mack recovers an important moment in the history of the metafictional transmedia traditions that penny fiction generated: the 1979 appearance of Stephen Sondheim and Hugh Wheeler’s revolutionary Broadway operetta Sweeney Todd, the Demon Barber of Fleet Street, a Musical Thriller. With Sweeney Todd’s premiere, the murderous barber got his chance to go global and succeeded terrifically. Drawing upon journalism, archival evidence, and personal experience, Mack reconstructs that moment and considers how myths about Sweeney Todd’s origins have impacted our understanding of the historical past. Namely, since 1979, the greater number of spectators on both sides of the Atlantic appeared to remain convinced that the barber’s murderous history was nothing less than a matter of verified and verifiable historical record. Mack explains how that misapprehension arose and reflects upon his quest for the sources of the legend.

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Phillips, Gyllie. "Cannibals and Capital: George King'sSweeney Todd(1936) and Representations of Class, Empire and Wealth." Journal of British Cinema and Television 15, no. 4 (2018): 571–88. http://dx.doi.org/10.3366/jbctv.2018.0443.

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The story of Sweeney Todd has its origins in the era of Victorian stage melodrama, a form with well-documented connections to critiques of Victorian class structures and economic hardship. As well, the musical versions of the story by Stephen Sondheim and Hugh Wheeler (1979), including the 2007 film by Tim Burton, have been identified with anti-capitalist sentiment. In all the discussions of Sweeney Todd and class, however, surprisingly little scholarly attention is paid to the first sound film version of the story, which appeared in Britain at the height of the economic crisis of the 1930s: Sweeney Todd: The Demon Barber of Fleet Street (1936), directed by George King and starring Tod Slaughter. The King-Slaughter collaborations converting Victorian stage melodramas to screen were part of the body of 1930s films identified as ‘quota quickies’, which have been characterised as cheap and badly made. Scholars such as Rachel Low and, more recently, David Pirie dismissed the quota quickies as films unworthy of close attention, but this article joins the revisionist trend that takes issue with these judgements both of 1930s quota quickies and the films of King and Slaughter. King's Sweeney Todd responds to the bleak economic experience and anxieties of its audiences through its narrative and generic changes to its Victorian precursors, as well as through its limited but creative uses of film form. Specifically, King's film challenges the idea of the naturalised authority of the wealthy, questions the origins of wealth and the function of labour, and transforms the abject body of the horror genre into a metaphor for the circulation of capital.

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&NA;. "‘Sweeney Todd: The Demon Barber of Fleet Street’." Oncology Times 31, no. 1 (2009): 25–26. http://dx.doi.org/10.1097/01.cot.0000343993.20007.51.

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Otten, Jürgen. "Kleine Herzen, große Gefühle." Opernwelt 63, no. 2 (2022): 14–15. http://dx.doi.org/10.5771/0030-3690-2022-2-014.

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Zalman. "Operatic Borrowing in Stephen Sondheim's Sweeney Todd." American Music 37, no. 1 (2019): 58. http://dx.doi.org/10.5406/americanmusic.37.1.0058.

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Mcgill, Craig M. "Sondheim’s use of the ‘Herrmann chord’ in Sweeney Todd." Studies in Musical Theatre 6, no. 3 (2012): 291–312. http://dx.doi.org/10.1386/smt.6.3.291_1.

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Sussman, Herbert. "VICTORIANS LIVE." Victorian Literature and Culture 37, no. 1 (2009): 287–310. http://dx.doi.org/10.1017/s1060150309090196.

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Victorians Live examines the afterlife of the Victorians, the ways that Victorian literature and culture remain alive, continue to live in our own day.Twenty-First Century MillaisELIZABETH PRETTEJOHNThe Labor of PhotographyGEOFFREY BATCHENArt & Emancipation in Jamaica: Isaac Mendes Belisario and His WorldsHERBERT SUSSMANSondheim's Sweeney Todd on Stage and ScreenSHARON ARONOFSKY WELTMAN

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Nesvet, Rebecca. "The Mystery of Sweeney Todd: G. A. Sala's Desperate Solution." Victorians Institute Journal 47, no. 1 (2020): 11–35. http://dx.doi.org/10.5325/victinstj.47.2019-20.0011.

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Weltman, Sharon Aronofsky. "Boz versus Bos in Sweeney Todd: Dickens, Sondheim, and Victorianness." Dickens Studies Annual: Essays on Victorian Fiction 42, no. 1 (2011): 55–76. http://dx.doi.org/10.7756/dsa.042.003.55-76.

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Morse, Samantha. "Affective Ethics and Democratic Politics in Sweeney Todd and the Victorian Penny Press." Journal of Victorian Culture 24, no. 1 (2018): 1–17. http://dx.doi.org/10.1093/jvcult/vcy054.

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Killeen, Jarlath. "Going Down the Drain: Sweeney Todd, Sewerage, and London Sanitation in the 1840s." Lublin Studies in Modern Languages and Literature 43, no. 2 (2019): 3. http://dx.doi.org/10.17951/lsmll.2019.43.2.3-18.

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This article examines the penny blood The String of Pearls in terms of its treatment of human remains as the equivalent of human excrement, arguing that the serial acts as an intervention into the debate about waste management and treatment in 1840s London.

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Le Run, Jean-Louis. "Tim Burton et la mélancolie : Sweeney Todd, un double, vengeur de la mère morte." Enfances & Psy 47, no. 2 (2010): 141. http://dx.doi.org/10.3917/ep.047.0141.

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Xavier, Priscilla Oliveira, and Priscilla Oliveira Xavier. "Sweeney Todd: da Inglaterra para os EUA, um produto eloquente para refletir sobre a dinâmica urbana." PragMATIZES, no. 5 (September 1, 2013): 17. http://dx.doi.org/10.22409/pragmatizes2013.5.a10366.

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Este artigo pretende explorar as relações entre a sociedade e o espaço urbano, a partir de uma leitura sociológica do filme "Sweeney Todd: O Barbeiro Demoníaco da Rua Fleet", adaptação de uma popular história inglesa, cuja direção é assinada por Tim Burton. Na análise são destacadas a trajetória social da história que inspirou o filme, enquanto um produto cultural, e as características da sociedade e da cidade impressos nessa história, como uma descrição de teor subjetivo de uma conjuntura na qual se instaurava uma nova ordem, inspirando novos hábitos e sensibilidades urbanas. Sobressaem na análise as alegorias dos temores, desconfortos e esperanças da sociedade enxertados em um produto cultural, o qual dialoga de modo peculiar, modificando conforme a conjuntura.

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Roh, Eun Young. "A Study on Expression Method of Musical Costume and Movie Costume - Case by ‘Sweeney Todd’." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 24, no. 2 (2018): 215–29. http://dx.doi.org/10.18208/ksdc.2018.24.2.215.

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Grinenko, Aleksei. "“Is That Just Disgusting?”: Mapping the Social Geographies of Filth and Madness in Sweeney Todd." Theatre Journal 68, no. 2 (2016): 231–48. http://dx.doi.org/10.1353/tj.2016.0051.

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Wolf, Stacy. "An interview with John Doyle1." Studies in Musical Theatre 17, no. 3 (2023): 277–81. http://dx.doi.org/10.1386/smt_00141_7.

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Director John Doyle is one of the foremost re-interpreters of Sondheim’s musicals. His productions of Sweeney Todd and Company introduced the practice of actor–musicianship to UK and US audiences and transformed assumptions about how those shows could be produced. As artistic director of Classic Stage Company (CSC), Doyle directed groundbreaking productions of Assassins and Pacific Overtures; before taking on the leadership of CSC, he directed a re-imagined version of Passion. Doyle also worked with librettist John Weidman and Sondheim to revise what had been Wise Guys and Bounce into Road Show. In this candid and illuminating interview, Doyle discusses his relationship with Sondheim and his approach to Sondheim’s musicals.

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Lee, Eun-Hye. "Correlation Between Drama and Music Through the Analysis of Musical Motif in the Musical Theatr 〈Sweeney Todd〉." Journal of the Korea Entertainment Industry Association 12, no. 2 (2018): 57–68. http://dx.doi.org/10.21184/jkeia.2018.2.12.2.57.

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Yi. Jung, Hyun, Hyung Gi. Kim, and Sungdae Hong. "Focused on multi viewed virtual reality short film 'sweeney TODD - the story of a barber' production study." International Journal of Engineering & Technology 7, no. 3.3 (2018): 1. http://dx.doi.org/10.14419/ijet.v7i2.33.13836.

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Background/Objectives: The Virtual Reality realistic image content is a technology to enable building imaginary space by synthesizing both real and graphic images so as to provide the sensation of immersion without the distinction between real and virtual world. In addition, this is a realm with strong growth potential requiring the raise of technological maturity in the medium to longer term.Methods/Statistical analysis: This research is an attempt to study the time and structure to acquire multi-view components beyond the degree of simple technological experience of delivering the already constructed information unilaterally. In addition, the direction to selectively solve the key problems in VR image grammar is explored by considering the pipeline of production technology including time control, etc.Findings: In this study, we have examined the necessary element for production such as the actor’s movement, lighting, space set for postproduction stitching and issues that arise in direction by actually producing the VR 360 image in real life. We realized that in the view point of VR 360 image, more than the camera angles, the mise-en-scene and space coordination according to the actor’s movement is more important.Improvements/Applications: VR visual grammar’s liberal point of view has the potential to become a specialized genre where it can extend as a new genre by breaking free from the square frame and specialized format

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Mehdi Saleh, Asmaa. "Estella and Her Sisters: Neo-Victorian Reading of Hugh Wheeler’s "Sweeney Todd: The Demon Barber of Fleet Street"." International Journal of Critical Cultural Studies 18, no. 1 (2020): 47–55. http://dx.doi.org/10.18848/2327-0055/cgp/v18i01/47-55.

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Paokantha, Itthipat, and Usa Padgate. "A Jungian Analysis of the Male Protagonist's Personality in Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street." Thoughts, no. 2 (2022): 22–38. http://dx.doi.org/10.58837/chula.thts.2022.2.2.

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Schildcrout, Jordan. "Sondheim at the disco." Studies in Musical Theatre 17, no. 3 (2023): 283–92. http://dx.doi.org/10.1386/smt_00142_1.

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Songs from Stephen Sondheim’s musicals have occasionally left the theatre to circulate through popular culture – and, in some unusual instances, they have even made their way to the dance floor. This article examines three disco adaptations of Sondheim show tunes: ‘Send in the Clowns’ by Grace Jones, ‘The Ballad of Sweeney Todd’ by Gordon Grody and ‘Losing My Mind’ by Liza Minnelli. Informed by histories of queerness and cultural production, the author interprets these dance tracks as reflections of queer life in the 1970s and 1980s, from gay liberation and radically camp exuberance to the homophobic ‘disco sucks’ backlash and the devastation of AIDS. While casting a critical eye on the artistic merit of these cover versions, the article argues that taking Sondheim from the Broadway stage to the discotheque can create new understandings of the meaning and social significance of a great songwriter’s work.

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SeungYoun Choi. "Horror Spectacles - Adoration of the Victorian Age in Musicals, focusing on Jekyll and Hyde, Sweeney Todd, and Jack the Ripper -." Journal of korean theatre studies association 1, no. 51 (2013): 147–80. http://dx.doi.org/10.18396/ktsa.2013.1.51.005.

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McWilliam, Rohan. "The Wonderful and Surprising History of Sweeney Todd: The Life and Times of an Urban Legend, by Robert L. Mack." Victorian Studies 50, no. 4 (2008): 731–32. http://dx.doi.org/10.2979/vic.2008.50.4.731.

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Manik, Svetlana Andreevna, та Ashot Aramovich Grigoryan. "ДИСКУРС МЮЗИКЛА: ОПРЕДЕЛЕНИЕ И ХАРАКТЕРНЫЕ ОСОБЕННОСТИ". Sovremennye issledovaniya sotsialnykh problem 12, № 6 (2020): 143. http://dx.doi.org/10.12731/2077-1770-2020-6-143-163.

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Цель. Статья посвящена малоизученному вопросу определения и описания характерных особенностей дискурса мюзикла. Предметом исследования выступают известные американские мюзиклы 70-х гг. XX в. «Jesus Christ Superstar» (1970) и «Sweeney Todd: The Demon Barber of Fleet Street» (1979). Авторы ставят целью раскрыть и проиллюстрировать специфические черты дискурса мюзикла, выделить его в качестве отдельного вида музыкального и театрального дискурса.Методология проведения работы. Обозначив предпосылки появления жанра «мюзикл», авторы выделяют ключевые аспекты музыкального и театрального дискурса, предлагают определение дискурса мюзикла и описывают его основные характеристики на материале двух американских мюзиклов разных тематик и жанров.Результаты. Результаты работы заключаются в том, что авторы предлагают определение дискурса мюзикла и выделяют его характерные особенности (сочетание разных жанров театрального искусства в рамках одного мюзикла, жанровое разнообразие, специфика цели, лингвистические характеристики, роль экстралингвистических факторов, экспрессивность и образность, условность, связность и цельность, интертекстуальность и интермедиальность, незавершенность и т.п.).Область применения результатов. Результаты исследования могут быть применены в сфере дискурсных исследований, а также на практических занятиях по анализу текста и семинарах по литературоведению.

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Hamadi, Lutfi. "The Main Dramatic Features of Melodrama: A Dramatic Study of Maria Martin and Sweeney Todd And Their Traces In Modern Soap Operas." European Scientific Journal, ESJ 13, no. 26 (2017): 122. http://dx.doi.org/10.19044/esj.2017.v13n26p122.

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This paper attempts an exploration of the prosperity of melodrama in the nineteenth century with its literary shortcomings in comparison with more serious and deeper plays before and after that era. Shedding light on the political, social, and economic changes that took place in Europe in general and in England in particular, this study tries to show how melodrama reflected these changes and represented the new rising middle class with all their values, beliefs, and interests. In addition, the paper shows similarities between melodrama and modern soap operas and movies, with their artificially fabricated plots and endings, unconvincing characters, and irrational incidents and coincidences. For this purpose, the study will trace the main dramatic features of melodrama and mark them out in two of the most notable melodramas of that period, namely Maria Martin and Sweeney Todd, which were adapted and produced cinematically. The paper will conclude how changes in different aspects of society are definitely reflected on the literary works during a certain period of time. The methodology will include an historical overview, shedding light on the changes that took place in England in the 19th century, comparing and contrasting melodramas and other more important literary forms, together with the two plays to be studied as examples. To achieve credibility, the paper will refer to works by remarkable thinkers and critics in the field, illustrate by using quotes from both plays, and interpret and analyze their function and importance.

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김효일. "A Study on Representation in the Ta-sheng-zhi-yuan & Cannibalism of Film 『Sweeney Todd: The Demon Barber of Fleet Street』." Journal of Korea Design Knowledge ll, no. 26 (2013): 145–55. http://dx.doi.org/10.17246/jkdk.2013..26.014.

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Bury, Laurent. "ROBERT L. MACK, ed. — Sweeney Todd, The Demon Barber of Fleet Street. The Original Novel. (Oxford: Oxford UP, 2007, xxxviii + 300 pp.)." Études anglaises Vol. 63, no. 1 (2010): 119. http://dx.doi.org/10.3917/etan.631.0108g.

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Richards, Leah. "Class, Crime, and Cannibalism in The String of Pearls; or, The Demon Barber as Bourgeois Bogeyman." Journal of Working-Class Studies 5, no. 1 (2020): 118–31. http://dx.doi.org/10.13001/jwcs.v5i1.6261.

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Although the tale of Sweeney Todd is one with significant cultural resonance, little has been written about the text itself, The String of Pearls. This article argues that the text engages with anxieties about class conflict through a narrative that enacts exaggerated versions of various interactions. In the nineteenth century, critics objected to the cheap fiction pejoratively known as penny dreadfuls, asserting that the genre’s exciting tales of bloodshed, villainy, and mayhem would seduce readers to lives of debauchery and crime, but I argue that this concern about cheap fiction was not for the preservation of the souls of the poor and working classes but rather for the preservation of the middle classes' own corporeal bodies and the system that privileged and protected them. While there is no question that the narrative enacts extreme manifestations of problems facing the urban poor—among them, contaminated or even poisonous foodstuffs and the perils of urban anonymity—it also features an intractable and rapacious lower class and a subversion of the master-servant dynamic on which the comforts of the middle class were constructed, and so, in addition to adventure, detection, and young love, The String of Pearls offers a dark revenge fantasy of class-based violence that the middle-class critics of the penny dreadful were perhaps justified in fearing. tl;dr: Eat the Rich!

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McGill, Craig M. "It might have been sophisticated film music: The role of the orchestra in stage and screen versions of Sweeney Todd, the Demon Barber of Fleet Street." Studies in Musical Theatre 8, no. 1 (2014): 5–26. http://dx.doi.org/10.1386/smt.8.1.5_1.

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Featherstone, Ann. "Robert L. Mack The Wonderful and Surprising History of Sweeney Todd: the Life and Times of an Urban LegendLondon: Continuum, 2007. 375 p. £25.00. ISBN: 0-8264-9791-8." New Theatre Quarterly 25, no. 2 (2009): 198–99. http://dx.doi.org/10.1017/s0266464x09000359.

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Sadek, I. A. "Implications of fructose in liver tumours of the Egyptian toad." Eastern Mediterranean Health Journal 4, no. 3 (1998): 571–74. http://dx.doi.org/10.26719/1998.4.3.571.

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Environmental factors play an important role in the etiology of several types of cancer;this discovery has led to a great deal of interest in the role of diet in cancer etiology. It is well known that some factories which produce jams and juices use fructose rather than glucose or sucrose to sweeten their products. This study demonstrates that fructose insignificantly enhances the incidence of liver tumours in Egyptian toads previously injected with 7, 12-dimethylbenz [a] -anthracene

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Hong, Jungmin. "Study on difference in musical lyrics translation between premiere and revival, and its possible reasons - Focusing on Sondheim's Sweeny Todd." Interpretation and Translation 18, S (2016): 191–241. http://dx.doi.org/10.20305/it201603191241.

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Duarte, Flavia Maris Gil. "Londres dos limpadores de chaminés: literatura e experiência histórica nos poemas London e The Chimney Sweeper de William Blake (1789-1794). Dissertação (Mestrado em História Social). Londrina, 2011." Antíteses 4, no. 7 (2011): 409. http://dx.doi.org/10.5433/1984-3356.2011v4n7p409.

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Este trabalho pretende analisar algumas das transformações sociais ocorridas na Inglaterra nas últimas décadas do século XVIII a partir do poema London e dos poemas homônimos The Chimney Sweeper presentes na obra Songs of Innocence and of Experience do poeta e gravador William Blake, autor inserido no movimento romântico inglês. Sua obra foi marcada, como um todo, pelo pensamento místico culminando na criação de uma cosmogonia capaz de explicar, segundo o autor, a condição humana. No pensamento Blakeano personagens e situações fictícias muitas vezes referenciam e se misturam à nomes e situações reais, sendo um indicativo de que a condição humana que tenta demonstrar seria a da sociedade inglesa na transição entre os séculos XVIII e XIX: que integrava o processo de industrialização, o crescente deslocamento da razão como centro do pensamento e ouvia os ecos da revolução francesa. Songs of Innocence and of Experience contém os fundamentos do pensamento desenvolvido ao longo das obras posteriores de William Blake, expressa as transformações sociais por ele vivenciadas num universo onde política, religião e arte se entrelaçam na construção de uma interpretação peculiar da formação da sociedade industrial moderna.

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Kearns, Michael, and Aaron Roth. "The Ethical Algorithm: The Science of Socially Aware Algorithm Design." Perspectives on Science and Christian Faith 73, no. 1 (2021): 55–56. http://dx.doi.org/10.56315/pscf3-21kearns.

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THE ETHICAL ALGORITHM: The Science of Socially Aware Algorithm Design by Michael Kearns and Aaron Roth. New York: Oxford University Press, 2019. 232 pages. Hardcover; $24.95. ISBN: 9780190948207. *Can an algorithm be ethical? That question appears to be similar to asking if a hammer can be ethical. Isn't the ethics solely related to how the hammer is used? Using it to build a house seems ethical; using it to harm another person would be immoral. *That line of thinking would be appropriate if the algorithm were something as simple as a sorting routine. If we sort the list of names in a wedding guest book so that the thank-you cards can be sent more systematically, its use would be acceptable; sorting a list of email addresses by education level in order to target people with a scam would be immoral. *The algorithms under consideration in The Ethical Algorithm are of a different nature, and the ethical issues are more complex. These algorithms are of fairly recent origin. They arise as we try to make use of vast collections of data to make more-accurate decisions: for example, using income, credit history, current debt level, and education level to approve or disapprove a loan application. A second example would be the use of high school GPA, ACT or SAT scores, and extra-curricular activities to determine college admissions. *The algorithms under consideration use machine-learning techniques (a branch of artificial intelligence) to look at the success rates of past student admissions and instruct the machine-learning algorithm to determine a set of criteria that successfully distinguish (with minimal errors) between those past students who graduated and those who didn't. That set of criteria (called a "model") can then be used to predict the success of future applicants. *The ethical component is important because such machine-learning algorithms optimize with particular goals as targets. And there tend to be unintended consequences--such as higher rates of rejection of applicants of color who would actually have succeeded. The solution to this problem requires more than just adding social equity goals as part of what is to be optimized--although that is an important step. *The authors advocate the development of precise definitions of the social goals we seek, and then the development of algorithmic techniques that help produce those goals. One important example is the social goal of privacy. What follows leaves out many important ideas found in the book, but illustrates the key points. Kearns and Roth cite the release in the mid-1990s of a dataset containing medical records for all state employees of Massachusetts. The dataset was intended for the use of medical researchers. The governor assured the employees that identifying information had been removed--names, social security numbers, and addresses. Two weeks later, Latanya Sweeney, a PhD student at MIT, sent the governor his medical records from that dataset. It cost her $20 to legally purchase the voter rolls for the city of Cambridge, MA. She then correlated that with other publicly available information to eliminate every other person from the medical dataset other than the governor himself. *Achieving data privacy is not as simple as was originally thought. To make progress, a good definition of privacy is needed. One useful definition is the notion of differential privacy: "nothing about an individual should be learnable from a dataset that cannot be learned from the same dataset but with the individual's data removed" (p. 36). This needs to also prevent identification by merging multiple datasets (for example, the medical records from several hospitals from which we might be able to identify an individual by looking for intersections on a few key attributes such as age, gender, and illness). One way to achieve this goal is to add randomness to the data. This can be done in a manner in which the probability of determining an individual changes very little by adding or removing that person's data to/from the dataset. *A very clever technique for adding this random noise can be found in a randomized response, an idea introduced in the 1960s to get accurate information in polls about sensitive topics (such as, "have you cheated on your taxes?"). The respondent is told to flip a coin. If it is a head, answer truthfully. If it is a tail, flip a second time and answer "yes" if it is a head and "no" if it is a tail. Suppose the true proportion of people who cheat on their taxes is p. Some pretty simple math shows that with a sufficiently large sample size (larger than needed for surveys that are less sensitive), the measured proportion, m, of "yes" responses will be close to m = ¼ + ½ p. We can then approximate p as 2m - ½, and still give individuals reasonable deniability. If I answer "yes" and a hacker finds my record, there is still a 25% chance that my true answer is "no." My privacy has been effectively protected. So we can achieve reasonable privacy at the cost of needing a larger dataset. *This short book discusses privacy, fairness, multiplayer games (such as using apps to direct your morning commute), pitfalls in scientific research, accountability, the singularity (a future time where machines might become "smarter" than humans), and more. Sufficient detail is given so that the reader can understand the ideas and the fundamental aspects of the algorithms without requiring a degree in mathematics or computer science. *One of the fundamental issues driving the need for ethical algorithms is the unintended consequences that result from well-intended choices. This is not a new phenomenon--Lot made a choice based on the data he had available: "Lot looked about him, and saw that the plain of the Jordan was well watered everywhere like the garden of the Lord, like the land of Egypt ..." Genesis 13:10 (NRSV). But by choosing that apparently desirable location, Lot brought harm to his family. *I have often pondered the command of Jesus in Matthew 10:16 where he instructs us to "be wise as serpents and innocent as doves." Perhaps one way to apply this command is to be wise as we are devising algorithms to make sure that they do no harm. We should be willing to give up some efficiency in order to achieve more equitable results. *Reviewed by Eric Gossett, Department of Mathematics and Computer Science, Bethel University, St. Paul, MN 55112.

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"Sweeney Todd (review)." Theatre Journal 58, no. 3 (2006): 477–78. http://dx.doi.org/10.1353/tj.2006.0152.

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Syifaurrahman, Rizki, and Ujang Suyatman. "THE ELEMENTS OF PERSONALITY IN THE MAIN CHARACTER OF SWEENEY TODD: THE DEMON BARBER OF FLEET STREET BY TIM BURTON." CALL 1, no. 2 (2019). http://dx.doi.org/10.15575/call.v1i2.6446.

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This research analyzes the elements of personality in the main character of Sweeney Todd: The Demon of Barber of Fleet Street by Tim Burton. The researcher uses descriptive qualitative methods because the results of this research are words which are then described. In this research, the reseacher found the elements of personality in the main character of Sweeney Todd: The Demon of Barber of Fleet Street by Tim Burton such as Todd id as the desire wants to revenge Turpin and Beadle because of what they did to Todd’s family, the desire wants to kill Pirelli because he knew his the real identity, and the desire wants to kill Mrs. Lovett because she lied him. The desires as Todd’s id realized and supported by the ego. The way how ego realized all of id in Sweeney Todd, the ego does his role with an action. Thus the superego does not appear much as the id. His role only related with a good value such as when Todd wants to reveal the fake barber about his crime.Keywords: Sweeney Todd, id, ego, superego.

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Wardhana, Husni, and Suharyoso Suharyoso. "Penciptaan Drama Musikal Sweeney Todd: The Demon Barber of Fleet Street (Sweeney Todd:Tukang Cukur Haus Darah)." Resital: Jurnal Seni Pertunjukan 12, no. 2 (2013). http://dx.doi.org/10.24821/resital.v12i2.474.

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Proses kreatif penyutradaraan Sweeney Todd: The Demon Barber of Fleet Street memberi banyak pelajarantentang drama musikal. Drama musikal memiliki keunikan tersendiri dalam proses maupun bentuk penyajiannya.Jenis drama ini sangat populer di Amerika, dan merupakan satu-satunya sumbangan Amerika dalam memperkayajenis teater dunia. Cerita ini merupakan kisah legendaris Inggris. Berkali-kali naskah karya Christopher Bond inidimainkan di berbagai benua di dunia, namun bila dilihat dari sejarah penciptaannya, kisah balas dendam seorangtukang cukur ini telah melalui proses adaptasi yang panjang. Beberapa penulis besar di jamannya sebelum melewatitangan kreatif Christopher Bond telah mengkreasi ulang naskah ini. Drama musikal ini berawal dari komedi musikaldan sejak tahun 1920 mengangkat tema-tema serius yang biasa disebut musik Broadway atau musik Amerika. Biasadisajikan dalam panggung besar West End dan Broadway di London, New York, Australia dan Asia. Beberapa kalidipanggungkan oleh kelompok teater sekolah atau kelompok teater amatir. Hampir seluruh pertunjukan drama musikal Sweeney Todd: The Demon Barber of Fleet Street diiringi dengan musik dan dinyanyikan. Dialog diubahmenjadi nyanyian. Para aktor di tuntut untuk dapat menyanyi, akting, dan menari. Drama musikal merupakanpertunjukan yang menggunakan tiga ciri utama, yakni menyanyi, menari, dan berakting yang mendominasi hampirseluruh pertunjukan.Kata kunci: penyutradaraan, drama musikal, kisah legendaris, Sweeney Todd, teater sekolah.ABSTRACTThe musical drama Sweeney Todd: Th e Demon Barber of Fleet Street. The creative directing process of this drama has given many good lessons to the art work of performing arts, especially to musical drama performance. The musical drama has its own unique characteristics in its process and performance. This type of drama is very popular in the USA, and has been the only contribution from the USA to enrich the typical of world theater. Sweeney Todd: The Demon Barber of Fleet Street is as an English legend, especially in England. This script created by Christopher Bond has been performed for several times in all around the globe. Having seen from its creating history, the story of a barber who takes revenge has been through long adaptation process. Some big authors in this era, before proceeded by Christopher Bond’s creative touch, had creatively recreated this script. The musical drama Sweeney Todd: The Demon Barber of Fleet Street was fi rstly created from the musical comedy drama and since 1920 has shown serious themes that are well known as Broadway music or American music. This drama has commonly been shown on a big stage West End and Broadway in London and New York, also in Australia and Asia. Moreover, it has also been performed by groups of school-theater and amateur theater. Most of the musical drama performances Sweeney Todd: The Demon Barber of Fleet Street are accompanied by music and are sung as well. The dialog is changed into songs. The actors are supposed to be able to sing, to act, and to dance. The musical drama is a performance that uses three main characteristics, namely: singing (solo, ensemble, and choir), dancing (individual and group), and acting, that dominates in most parts of the performance.Key words: directing, musical drama, legend story, Sweeney Todd, theater.

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Nesvet, Rebecca. "Blood Relations: Sweeney Todd and the Rymers of London." Notes and Queries, January 23, 2017, gjw258. http://dx.doi.org/10.1093/notesj/gjw258.

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Labrande, Manon. "“Attend the Tale of Sweeney Todd”: The Transmedial Circulation of a Victorian Narrative." Polysèmes, no. 23 (June 30, 2020). http://dx.doi.org/10.4000/polysemes.6781.

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"The String of Pearls, or the Fiend of Fleet Street (The Original Sweeney Todd Melodrama)." Nineteenth Century Theatre and Film 38, no. 1 (2011): 28–85. http://dx.doi.org/10.7227/nctf.38.1.7.

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"New Light on Sweeney Todd, Thomas Peckett Prest, James Malcolm Rymer and Elizabeth Caroline Grey. Helen R. Smith." Papers of the Bibliographical Society of America 97, no. 1 (2003): 121–22. http://dx.doi.org/10.1086/pbsa.97.1.24295821.

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Journal articles on the topic 'Sweeney Todd'

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