Whatever Happened to Bob Shaw? Or Finding the Real George Costanza MARC J
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Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2014 Funny Pages: Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College Recommended Citation Hernandez, Dahnya Nicole, "Funny Pages: Comic Strips and the American Family, 1930-1960" (2014). Pitzer Senior Theses. Paper 60. http://scholarship.claremont.edu/pitzer_theses/60 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. FUNNY PAGES COMIC STRIPS AND THE AMERICAN FAMILY, 1930-1960 BY DAHNYA HERNANDEZ-ROACH SUBMITTED TO PITZER COLLEGE IN PARTIAL FULFILLMENT OF THE BACHELOR OF ARTS DEGREE FIRST READER: PROFESSOR BILL ANTHES SECOND READER: PROFESSOR MATTHEW DELMONT APRIL 25, 2014 0 Table of Contents Acknowledgements...........................................................................................................................................2 Introduction.........................................................................................................................................................3 Chapter One: Blondie.....................................................................................................................................18 Chapter Two: Little Orphan Annie............................................................................................................35 -
The Curse of Eve - Or, What I Learned in School Margaret Atwood
The Curse of Eve - Or, What I Learned in School Margaret Atwood Margaret Atwood and less Graeme Gibson La Malediction d'Eve ou - Ce que j'ai appris aI'ecole. knowledge, like all other knowledge, by virtue of gender. The tables have turned and now it's women who are supposed to Dans cet aper~u des stereotypes de femmes ecrivai ns et possess this knowledge, simply by birthright. I can only assume de leur impact sur notre tradition litteraire, Atwood nous that's the reason I've been invited to speak to you, since I'm demande de permettre aux femmes - personnages et not an authority on women, or indeed on anything else. personnes - d'avoir leurs imperfections sans etre I escaped from academia and bypassed journalism - which was categorisees comme types. the other career I considered, until I was told that women journalists usually ended up writing obituaries or wedding announcements for the women's page, in accordance with their Once upon a time, I wou Id have not been invited to speak to ancient roles as goddesses of life and death, deckers of nuptial you today. That time isn't really very long ago. In 1960, when beds and washers of corpses. Finally, I became a professional I was attending university, it was widely known that the writer. I've just finished a novel, so it's as a working novelist University College English department did not hire women, no that I'd li ke to approach this general area. matter what their qualifications. My own college did hire . -
2017 | 2018 Season
2017 | 2018 SEASON Unforgettable characters. Extraordinary stories. Since 1947. A CHRISTMAS STORY, 2014 THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, 2014 Honoring our 70 year history as San Luis Obispo Little Theatre while building our future as San Luis Obispo Repertory Theatre, a professional, nonprofit, regional theatre. Repertory (re-pə(r)-ˌtȯr-ē) 1. a company that performs different plays in the course of a season 2. a theatre in which such a company performs 3. the production and presentation of plays by a repertory company BYE BYE BIRDIE, 2016 THE DROWSY CHAPERONE, 2016 A New Name for Live Theatre This organization was created in the summer of 1947 by a small group of people who wanted to “put on a show.” These 10-15 theatre-lovers, swept up in the last wave of the larger Little Theatre movement across the country, recognized the need for an organized drama troupe in San Luis Obispo. Late in 1947, they decided on the name San Luis Obispo Little Theatre and began rehearsal for their first production – Noel Coward’s Blithe Spirit – which opened at the San Luis Obispo High School Auditorium in early 1948. Since that first show, the San Luis Obispo Little Theatre has produced a full season of plays each year, every year, in 27 different locations around the county. We have had an incredible history as a nonprofit community theatre: 70 years, over 900 plays, hundreds of board members, thousands of volunteers. Now it is time for us to officially become the premier live theatre in San Luis Obispo, and continue the growth we have experienced for the last 5, the last 30, the last 70 years. -
Dick Tracy.” MAX ALLAN COLLINS —Scoop the DICK COMPLETE DICK ® TRACY TRACY
$39.99 “The period covered in this volume is arguably one of the strongest in the Gould/Tracy canon, (Different in Canada) and undeniably the cartoonist’s best work since 1952's Crewy Lou continuity. “One of the best things to happen to the Brutality by both the good and bad guys is as strong and disturbing as ever…” comic market in the last few years was IDW’s decision to publish The Complete from the Introduction by Chester Gould’s Dick Tracy.” MAX ALLAN COLLINS —Scoop THE DICK COMPLETE DICK ® TRACY TRACY NEARLY 550 SEQUENTIAL COMICS OCTOBER 1954 In Volume Sixteen—reprinting strips from October 25, 1954 THROUGH through May 13, 1956—Chester Gould presents an amazing MAY 1956 Chester Gould (1900–1985) was born in Pawnee, Oklahoma. number of memorable characters: grotesques such as the He attended Oklahoma A&M (now Oklahoma State murderous Rughead and a 467-lb. killer named Oodles, University) before transferring to Northwestern University in health faddist George Ozone and his wild boys named Neki Chicago, from which he was graduated in 1923. He produced and Hokey, the despicable "Nothing" Yonson, and the amoral the minor comic strips Fillum Fables and The Radio Catts teenager Joe Period. He then introduces nightclub photog- before striking it big with Dick Tracy in 1931. Originally titled Plainclothes Tracy, the rechristened strip became one of turned policewoman Lizz, at a time when women on the the most successful and lauded comic strips of all time, as well force were still a rarity. Plus for the first time Gould brings as a media and merchandising sensation. -
Crime, Law Enforcement, and Punishment
Shirley Papers 48 Research Materials, Crime Series Inventory Box Folder Folder Title Research Materials Crime, Law Enforcement, and Punishment Capital Punishment 152 1 Newspaper clippings, 1951-1988 2 Newspaper clippings, 1891-1938 3 Newspaper clippings, 1990-1993 4 Newspaper clippings, 1994 5 Newspaper clippings, 1995 6 Newspaper clippings, 1996 7 Newspaper clippings, 1997 153 1 Newspaper clippings, 1998 2 Newspaper clippings, 1999 3 Newspaper clippings, 2000 4 Newspaper clippings, 2001-2002 Crime Cases Arizona 154 1 Cochise County 2 Coconino County 3 Gila County 4 Graham County 5-7 Maricopa County 8 Mohave County 9 Navajo County 10 Pima County 11 Pinal County 12 Santa Cruz County 13 Yavapai County 14 Yuma County Arkansas 155 1 Arkansas County 2 Ashley County 3 Baxter County 4 Benton County 5 Boone County 6 Calhoun County 7 Carroll County 8 Clark County 9 Clay County 10 Cleveland County 11 Columbia County 12 Conway County 13 Craighead County 14 Crawford County 15 Crittendon County 16 Cross County 17 Dallas County 18 Faulkner County 19 Franklin County Shirley Papers 49 Research Materials, Crime Series Inventory Box Folder Folder Title 20 Fulton County 21 Garland County 22 Grant County 23 Greene County 24 Hot Springs County 25 Howard County 26 Independence County 27 Izard County 28 Jackson County 29 Jefferson County 30 Johnson County 31 Lafayette County 32 Lincoln County 33 Little River County 34 Logan County 35 Lonoke County 36 Madison County 37 Marion County 156 1 Miller County 2 Mississippi County 3 Monroe County 4 Montgomery County -
Feed Is High
CENTS SMOKE THE C. & M. AND LITTLE JOE CIGARS. 6 CENTS NOVEMBER - Hun i Tuu I Thu Fn r8»l 1 i3 1 3 I One Buys Carpets bocal :i| 4 ft « 7 H W ] 101 11 13 l:t 14 15 to (special When J^ews J 17 ih 19, :o u >t 3a j notice. 341 35 3« 37, iH 3»l SO J Curtains, Shades and other home furnishings, it’s l>est to I and most fashionable ideas, especially when Beginning Oct. 1, 1901, secure latest I’d leave my happy home and cross the What? Fair and supper. When? | we will issue cash In our stock it means no greater outlay. you’ll find the deep blue sea, Thursday evening, Dec. 5. Where ? | sales with all purchases. All customers fashionable ideas, priced be slips neW fall styles -the but along Rather than without Charley and At First Presbyterian church. All my Rocky the same reasonable lines that always characterizes such Mountain Tea. right! I shall shall be there. I buying $25.00 worth of goods or over during —A. L. Bin ford. offerings here. The members of the junior college the balance of tins year lie cash football eleven and of the city high | will entitled to a CARPETS” SeveraI rolls just in at the Morgan Wood, Thanksgiving night. LOWELL school indulged in a pleasant social rebate of 5 percent i same price that you pay for inferior goods. Sherwin sells dry corn cobs. 26t4 time at Woodmen hall on Monday 1 evening. Music and dancing consti- iii our misfit de- Castlewood has organized a business upon presentation exceptional values men's association. -
The Inventory of the Harold Gray Collection #100
The Inventory of the Harold Gray Collection #100 Howard Gotlieb Archival Research Center Gray, Harold #100 Gifts of Mrs. Harold Gray and others, 1966-1992 Box 1 Folder 1 I. Correspondence. A. Reader mail. 1. Fan mail re: “Little Orphan Annie.” a. 1937. b. 1938. c. 1939. d. Undated (1930s). Folder 2 e. 1940-1943. Folder 3 f. 1944. Folder 4 g. 1945. Folder 5 h. 1946. Folder 6 i. 1947. Folder 7 j. 1948. Folder 8 k. 1949. 2 Box 1 cont’d. Folder 9 l. Undated (1940s). Folder 10 m. 1950. Folder 11 n. 1951. Folder 12 o. 1952. Folder 13 p. 1953-1955. Folder 14 q. 1957-1959. Folder 15 r. Undated (1950s). Folder 16 s. 1960. Folder 17 t. 1961. Folder 18 u. 1962. Folder 19 v. 1963. 3 Box 1 cont’d. Folder 20 w. 1964. Folder 21 x. 1965. Folder 22 y. 1966. Folder 23 z. 1967. Folder 24 aa. 1968. Folder 25 bb. Undated (1960s). Folder 26 2. Reader comments, criticisms and complaints. a. TLS re: depiction of social work in “Annie,” Mar. 3, 1937. Folder 27 b. Letters re: “Annie” character names, 1938-1966. Folder 28 c. Re: “Annie”’s dress and appearance, 1941-1952. Folder 29 d. Protests re: African-American character in “Annie,” 1942; includes: (i) “Maw Green” comic strip. 4 Box 1 cont’d. (ii) TL from HG to R. B. Chandler, publisher of the Mobile Press Register, explaining his choice to draw a black character, asking for understanding, and stating his personal stance on issue of the “color barrier,” Aug. -
TRUCK DRIVERS STRIKE; STILL in DEADLOCK] WHOLE STATE TIED up President Gran Awaiti Arriv DR
/ A v n u a a d a i u cuouLATioif for tiM Moatt tt hwgm, INI Oooenlly tair sal ilgMIy 5 . 1 5 4 •r toaifht oad ToMiogr. IlMBbW Of tto A n«t BONM ' of Wt OOOVO O f f (TWELVE PAGES) PRICE THRSP CENTS Adrortfitag oa fa ft iOb) MANCHESTER, CONN^ MONDAY, SEPTEMBER 25, 1988. VOL. U L, NO. 804 FACTIONS IN CUBA Twjce Around The W orld—To ThiB! TRUCK DRIVERS STRIKE; STILL IN DEADLOCK] WHOLE STATE TIED UP President Gran Awaiti Arriv DR. DOLANS WORK Labor Official Eitimatoi al of Cuban Leader — Son TO RE aiRTAKEDI Local Trucking Firms 2,000 Tmeks Staii^ Declares Hii Father Not Have Autos Tied Up Idle — Employer! Say Against Government. imiot Wagner to Have Only 400 Men Quit But Tba general walkout of truokAStopped yesterday but wan allowed New Agency Settle Labor | driven throughout tba state, which to nturn Manchester. HtVUA, lopt. 26— (AP) —ItUl Psirett * Glenney are under con That They Had Stripped dtadleokcd with Ita polltioal oppoa* Dif putes fa) the State. occurred with startling suddenness tract with rhansy Brothers and tbe •Dti, tba fovtrnmoBt of lUmoB late last night, left local trucking three trucks bald in New Haven are Hnndreds of Others op O rtu Baa MarUn awaltad tba ar* ooncern- wondering what it was all carrying the silk firm’s merchan rival today of tba Habal laadar, Juan about, acooiding tc tbs reports from dise. company announced this WMblBfton, Bapt. 26— (AP) — 1 afternoon that bolding up of the Blaa Harmandaa, wbo waa axpaotad leading companies here, ell of whom the Reads. -
Exterior Exhibition MAP
Exterior299 NW 25th Exhibition St., Miami, FL MAP33127 786.580.4678 NW 26th St. 1. Abstrk and Entes 2. Ezo 3. Jules Muck 4. Zephyr 5. AMERICAN HISTORY 6. Slick The World’s 1st Museum 7. JonOne of Graffiti is now open! 8. Niels “Shoe” Meulman Tickets available at museumofgraffiti.com 9. Erni Vales 10. Quake, Bacon & Hiero @museumofgraffiti 11. Ticoe and Rasterms 12. Marvel 13. Ces, Doves, Mast, & Yes2 14. Reds 15. Lady Pink NW 3rd Ave. NW 3rd NW 25th St. Exterior Exhibition MAP 1. This wall is a collaboration between two Latin American artists, Abstrk from Miami and Entes from Peru. The artists combine fictional characters with portraits of locally and nationally renown graffiti writers like Lady Pink, Reds, Verse, and the curator of the Museum of Graffiti, Mare139. The faces are so cohesive that only a trained eye can differentiate between Abstrk’s vampire style and Entes’ signature characters. Be sure to grab a pamphlet inside the Museum so you can play “What’s the difference?”. 2. Artist Ezo has been painting aerosol art since 1979. His interest in documenting the ephemeral graffiti artform led him to founding one of the first internet graffiti directories in 1997. Fast forward to 2020, Ezo still focuses on preserving graffiti history as evidenced by him painting this portrait of Phase II who is considered to be a legend in the graffiti art movement and is generally credited with originating the "bubble letter" style of aerosol writing. Phase II passed away on December 20, 2019, two weeks after the opening of the Museum of Graffiti. -
Niels SHOE Meulman Artist Portfolio
NIELS „SHOE“ MEULMAN (1967, THE NETHERLANDS) Niels Shoe Meulman (a.k.a. Shoe) is an internationally known artist and graphic designer. He is born, raised and based in Amsterdam, the Netherlands. Meulman began tagging ‘Shoe’ in 1979 and became a graffiti legend by the time he was 18. In the eighties, he met New York artists like Dondi, Rammellzee, Haze, Quik and Keith Haring. He then formed the Crime Time Kings with Bando from Paris and Mode2 from London. To get h er they gave graffiti in Europe its own distinctive style. In the nineties, he furthered his technique by apprenticing under the Dutch graphic design master Anthon Beeke. In the years after, he ran his own design company, Caulfield & Ten s i n g and was partner in advertising agency Unruly, which he later turned into a brand for silk scarves and a gallery. Niels Shoe Meulman revolutionized the art of writing with Calligraffiti, an art form that fuses calligraphy and graffiti. He launched this movement in 2007 with a successful solo exhibition in Amsterdam. Since then, his Calligraffiti pieces (signed NSM) have been shown in various international exhibitions and are part of several museum collections. His recent painting style can be described as abstract expressionism with a calligraphic origin. Homepage: http://nielsshoemeulman.com (SELECTED) SOLO EXHIBITIONS 2017 Unidenticals and Reverse Paintings, Galerie Droste, Wuppertal, DE 2016 Uncontrolled Substances, Galerie Gabriel Rolt, Amsterdam, NL Nissa la Bella, GCA gallery, Nice, FR 2014 Shoe at Flow, Make Your Mark gallery, Helsinki, -
Dilbert": a Rhetorical Reflection of Contemporary Organizational Communication
UNLV Retrospective Theses & Dissertations 1-1-1998 "Dilbert": A rhetorical reflection of contemporary organizational communication Beverly Ann Jedlinski University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Jedlinski, Beverly Ann, ""Dilbert": A rhetorical reflection of contemporary organizational communication" (1998). UNLV Retrospective Theses & Dissertations. 957. http://dx.doi.org/10.25669/3557-5ql0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS Uns manuscript has been reproduced from the microfilm master. UMI fifans the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afifrct reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these wiH be noted. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism.