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Tales of Adversity and Triumph in Collection
c/o Katina Strauch 209 Richardson Avenue MSC 98, The Citadel Charleston, SC 29409 REFERENCE PUBLISHING ISSUE TM volume 28, NUMBER 4 SEPTEMBER 2016 ISSN: 1043-2094 “Linking Publishers, Vendors and Librarians” Emerging from the Dark(room): Tales of Adversity and Triumph in Collection Development by Lindsey Reno (Acquisitions Librarian, Liaison to Fine Arts, Film Theatre, and Music, University of New Orleans, Early K. Long Library) <[email protected]> ollection development can be one of the in the face of adversity. My inspiration for ship in the library. Her article, “Censorship most contentious areas of a library. Ev- this issue came from my own experiences at- in the Library: The Dark Side of Dystopia” Ceryone in the library, as well as patrons tempting to start a leisure reading collection in provides us with the perspectives of both parent and other stakeholders, has an opinion about my library at the University of New Orleans. and librarian. Her recommendations on how to what a particular library should hold. Librari- It took three years of struggle, and countless approach challenges to literature are valuable ans and patrons alike can be fiercely protective meetings, to gain approval. Another story indeed. Everyone wants to read literature that of library collections. Throw in related issues, that inspired me to put together this issue was they can identify with and finding books with like budget cuts and space, and things can get that of LOUIS Consortium colleague Megan characters who mirror ourselves is important. awfully messy. The resulting Lowe, from the University of Unfortunately, the challenge of finding multi- conflicts are many and various. -
JM Weatherston
Northumbria Research Link Citation: Weatherston, Jack (2018) How the West has Warmed: Climate Change in the Contemporary Western. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/39786/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html HOW THE WEST HAS WARMED: CLIMATE CHANGE IN THE CONTEMPORARY WESTERN J. M. WEATHERSTON PhD 2018 1 HOW THE WEST HAS WARMED: CLIMATE CHANGE IN THE CONTEMPORARY WESTERN JACK MICHAEL WEATHERSTON A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences OCTOBER 2018 2 Abstract This thesis will argue that the contemporary Western, in literature and film, has shown a particular capacity to reflect the influence of climate change on the specific set of landscapes, ecosystems and communities that make up the American West. -
Recent Publications on the History of Mining
Recent Publications on the History of Mining Compiled by Lysa Wegman-French The following bibliography contains books, dis- silver mines, the Palmilla mine near Parral in the sertations and theses, articles and chapters of books, state of Chihuahua.] and other media—organized within those four categories—that relate to the history of all types Arroyo Leyva, Ana María. Minería en el Real of mining in North America (that is, Canada, the de Temascaltepec en el Último Cuarto del Siglo United States, and Central America). It does not XVIII: La Compañía Refaccionaria de la Mina de include book review articles. Agua, 1784-1792 [Mining in the Royal of Temas- Digital capabilities are changing our options for caltepec in the Last Quarter of the Eighteenth Cen- seeing works of interest. Some films and printed tury: The Refinery Company of the Water Mine, works are also available for viewing on the inter- 1784-1792]. México, D.F.: Instituto Nacional net. We haven’t included URLs for these, but de Antropología e Historia, 2011. [Covers silver check the internet for their availability. More- mining in Mexico.] over, some articles are available only on the inter- net; for these we have included the URL. In ad- Bamonte, Tony, and Suzanne Bamonte. The dition, many older books are now being reissued Coeur D’ Alenes Gold Rush and Its Lasting Legacy. as e-books, and older films are being distributed as Spokane: Tornado Creek Publications, 2017. DVDs. We did not include them in this compila- tion since the content is not new. However, if you Basso, Matthew, and John Perry Christensen. -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
Media Kit an Exclusive Television Event
MEDIA KIT AN EXCLUSIVE TELEVISION EVENT ABOUT SHOWTIME SHOWTIME is the provider of Australia’s premium movie channels: SHOWTIME, SHOWTIME 2 and SHOWTIME Greats. Jointly owned by four A HELL OF A PLACE TO MAKE YOUR FORTUNE MA Medium Level Violence Coarse Language of the world’s leading fi lm studios Sony Pictures, Paramount Pictures, Sex Scenes 20th Century Fox and Universal Studios, as well as global television distributor Liberty Media, the SHOWTIME channels are available on FOXTEL, AUSTAR, Optus, TransAct and Neighbourhood Cable. For further information contact: Catherine Lavelle CLPR M 0413 88 55 95 SERIES PREMIERE 8.30PM WEDNESDAY NOVEMBER 3 - continuing weekly E [email protected] showtime.com.au/deadwood In an age of plunder and greed, the richest gold strike in American history draws a throng of restless misfi ts to an outlaw settlement where everything — and everyone — has a price. Welcome to DEADWOOD...a hell of a place to make your fortune. From Executive Producer David Milch (NYPD BLUE) comes DEADWOOD, a new drama series that focuses on the birth of an American frontier town and the ruthless power struggle that exists in its lawless boundaries. Set in the town of DEADWOOD, South Dakota the story begins two weeks after Custer’s defeat at Little Big Horn, combining fi ctional and real-life characters and events in an epic tale. Located in the Black Hills Indian Cession, the “town” of DEADWOOD is an illegal settlement, a violent and uncivilized outpost that attracts a colorful array of characters looking to get rich — from outlaws and entrepreneurs to ex-soldiers and racketeers, Chinese laborers, prostitutes, city dudes and gunfi ghters. -
Legends of the West
1 This novel is dedicated to Vivian Towlerton For the memories of good times past 2 This novel was written mostly during the year 2010 CE whilst drinking the fair-trade coffee provided by the Caffé Vita and Sizizis coffee shops in Olympia, Washington Most of the research was conducted during the year 2010 CE upon the free Wi-Fi provided by the Caffé Vita and Sizizis coffee shops in Olympia, Washington. My thanks to management and staff. It was good. 3 Excerpt from Legends of the West: Spotted Tail said, “Now, let me tell you the worst thing about the Wasicu, and the hardest thing to understand: They do not understand choice...” This caused a murmur of consternation among the Lakota. Choice was choice. What was not there to not understand? Choice is the bedrock tenet of our very view of reality. The choices a person makes are quite literally what makes that person into who they are. Who else can tell you how to be you? One follows one’s own nature and one’s own inner voice; to us this is sacrosanct. You can choose between what makes life beautiful and what makes life ugly; you can choose whether to paint yourself in a certain manner or whether to wear something made of iron — or, as was the case with the famous Cheyenne warrior Roman Nose — you could choose to never so much as touch iron. In battle you choose whether you should charge the enemy first, join the main thrust of attack, or take off on your own and try to steal his horses. -
Dirty Words in Deadwood
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and Chapters University of Nebraska Press Spring 2013 Dirty Words in Deadwood Melody Graulich Nicolas S. Witschi Follow this and additional works at: https://digitalcommons.unl.edu/unpresssamples Graulich, Melody and Witschi, Nicolas S., "Dirty Words in Deadwood" (2013). University of Nebraska Press -- Sample Books and Chapters. 206. https://digitalcommons.unl.edu/unpresssamples/206 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Dirty Words in Deadwood Buy the Book Postwestern Horizons General Editor William R. Handley University of Southern California Series Editors José Aranda Rice University Melody Graulich Utah State University Thomas King University of Guelph Rachel Lee University of California, Los Angeles Nathaniel Lewis Saint Michael’s College Stephen Tatum University of Utah Buy the Book Dirty Words in Deadwood Literature and the Postwestern edited by melody graulich and nicolas s. witschi University of Nebraska Press § Lincoln and London Buy the Book © 2013 by the Board of Regents of the University of Nebraska. Chapter 2, “Last Words in Deadwood,” by Brian McCuskey, originally appeared as “Last Words in Deadwood: Literacy and Mortality on the Frontier” in The Journal of Popular Culture (2011) Wiley Online Library. http://online library.wiley.com/doi/10.1111/ j.1540-5931.2011.00876.x/pdf. All rights reserved Manufactured in the United States of America Library of Congress Cataloging- in-Publication Data Dirty words in Deadwood: literature and the postwestern / edited by Melody Graulich and Nicolas S. -
The Philosophy of the Western
University of Kentucky UKnowledge American Popular Culture American Studies 5-28-2010 The Philosophy of the Western Jennifer L. McMahon East Central University B. Steve Csaki Centre College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation McMahon, Jennifer L. and Csaki, B. Steve, "The Philosophy of the Western" (2010). American Popular Culture. 11. https://uknowledge.uky.edu/upk_american_popular_culture/11 (CONTINUED FROM FRONT FLAP) McMAHON PHILOSOPHY/FILM AND CSAKI THE PHILOSOPHY OF THE gender, animal rights, and other topics depicted in western narratives. “The writing is accessible to nonspecialists and should be of interest to general WESTERN Drawing from philosophers as varied as Aristotle, Spinoza, William James, and Jean- readers who enjoy thinking about EDITED BY Paul Sartre, The Philosophy of the Western JENNIFER L. McMAHON AND B. STEVE CSAKI examines themes that are central to the genre: philosophy, film, or westerns.” individual freedom versus community; the —KAREN D. HOFFMAN, encroachment of industry and development on the natural world; and the epistemological Hood College here are few film and television genres and ethical implications of the classic “lone that capture the hearts of audiences rider” of the West. The philosophies of John like the western. While not always T T Locke, Thomas Hobbes, and Jean-Jacques H true to the past, westerns are tied to, and Rousseau figure prominently in discussions E P expressive of, the history of the United States. -
Deadwood, Un Western Post 11-S Ignacio FERNÁNDEZ DE MATA (Universidad De Burgos, España)
Oceánide 9 2017 Fecha de recepción: 30 enero 2017 Fecha de aceptación: 14 febrero 2017 Fecha de publicación: 27 abril 2017 URL:http://oceanide.netne.net/articulos/art9-1.pdf Oceánide número 9, ISSN 1989-6328 La atrayente degradación del mito nacional: Deadwood, un western post 11-S Ignacio FERNÁNDEZ DE MATA (Universidad de Burgos, España) RESUMEN: Producida y emitida entre 2004 y 2006, la serie Deadwood, de HBO, alcanzó ribetes míticos y generó irredentos adeptos pendientes de una conclusión definitiva tras el cierre en falso de sus tres temporadas. Quizás la principal razón de su éxito —más allá de las impecables actuaciones de sus villanos— radica en su brutal actualización de uno de los mitos principales de la identidad norteamericana: el salvaje oeste y su mundo de pioneros rebosantes de hipermasculinidad y providencialismo cristiano. Con un sentido dramático muy realista, la serie presenta los conflictos de una comunidad de frontera en la que la ley que se impone es la darwiniana supervivencia del más fuerte —o el más listo—. La cosmovisión nada autocomplaciente de la serie y el cinismo y debilidad moral de casi todos sus personajes resuena con la sociedad post 11-S del espectador, sobrecogida por la fragilidad que ha descubierto en sí misma. Este artículo se centra en el análisis de las relaciones y construcciones identitarias —en sus distintos niveles y roles—, de esta sociedad de frontera, asentada sobre el conflicto, la desigualdad y la explotación más descarnada, en donde no hay lugar para la consabida “inocencia americana” (Fredericks & Bacevich, 2014: n.pag.), y donde la coincidencia de los intereses personales parece ser el pilar vertebrador de la comunidad. -
25TH ANNIVERSARY END of TRAIL by Billy Dixon, SASS Life/Regulator #196
MercantileEXCITINGSee section our NovemberNovember 2001 2001 CowboyCowboy ChronicleChronicle(starting on PagepagePage 90)11 The Cowboy Chronicle~. The Monthly Journal of the Single Action Shooting Society ® Vol. 19 No. 8 © Single Action Shooting Society, Inc. August 2006 25TH ANNIVERSARY END of TRAIL By Billy Dixon, SASS Life/Regulator #196 oppy met us at the gate and See HIGHLIGHTS starting on 72 Roy and Dale sang “Happy H Trails to You” as we depart- ed. In between, we celebrated the 25th Anniversary END of TRAIL. This END of TRAIL was more like a wedding anniversary than the recog- nition of a successful business ven- ture. The Single Action Shooting Society is a bonding between a group of people we know as the Wild Bunch and more than 71,000 individuals from all parts of the world and all walks of life. SASS has been around for awhile now, and I’ve been a Life Member and Regulator long enough to have seen some things change while other things stay the same. No one walks alone at END of TOP GUN WINNERS TRAIL. SASS is more a family, and The reigning champions and Top less a business or even a sport. Guns continue to be Lead Dispencer SASS is a way of life. We treasure END of TRAIL was “all new” again this year. The June date allowed many and Holy Terror. These two have SASS for the same reasons we more families to attend than in the past, and the recent construction has demonstrated shooting speed, enjoyed watching Hopalong, the begun to put a new face on the event. -
Alias List As at 21/2/20 4 X Wrangler Ace High Ace Mckenzie Admiral AJ Al Swearengen Alamogordo Alice Longshot Alotta Outlaw
Alias List as at 21/2/20 4 X Wrangler Ace High Ace McKenzie Admiral AJ Al Swearengen Alamogordo Alice Longshot Alotta Outlaw Alvira Sullivan Earp Amarillo Amazed Amazing Grace Andrew the Judge Andy Adam's Angel Eyes Angel of Tombstone Angry Outlaw Annabelle Oakley Annie Coyote Annie Sureshot Annie -Dote Apache Appaloosa Maiden Archer Arizona Blue Arizona Pearl Arthur Morgan Astronomical B.C. San Antonio Bad Al Zima Bad Ass Wallace Bad Barry Bad Bart Bad Blood Bad4U Bailup Baldy Bambino Bandicoot Bandito Brad Banjo Banjo Montana Barb Wire Bartender Bass Strait Cowboy Bastard Bert Baxter Blake Bean Bear Bear Paw Beau Maverick Belle Boyd Belle Starr Bent Bob Bernard McCrae Bessie Starlight Betsy Wesson Big Bad John Big Bang Big Jake Big John Big Mac BigA Bigfoot Wallace Bill -Henry Billy Dixon Billy Hustler Billy the Kid Bindi Bisbee Kid BJ Black Jack Black Jack Barrington Black Powder Bob Black To Hunga Blackapple Tinker Blackhart Blackhawk Blackjack Al Blackjack Jenkins Blandford Blaze A Trail Blazer Blazing Dutchman Blinky Blitzer Maloney Blondee Bloody Bill Blue Belle Blue Eyed Angel Blue Lightening Blue Man Blue Robin Blue Thunder Bluebonnet Bluey Bob Dalton Bob Younger Bodie Bohannon Bones Bonita Boots Bootstrap Bordello Baz Born Tothrill Boss Hoss Bottlo John Bowler Bob Brandin Iron Brandy Snaps Breaker Breedin the Kid Bridget O'Malley Broken Arrow Broken Knee Broken Spur Bronco Brushy Bill Buck Carbine Buck Garrett Buck N Bull Buck Ryder Buck Silverton Buckle Bill Buckshot (Bucky) Batters Buckshot Bill Buckshot Bodean Buckshot 'E' Bown Bull Whip Bullock Bullseye Bush Chook Brozzy Bushwacker Bushy Taylor Buster Giggs Butch cassidy C.T.M. -
Calamity Jane and Female Masculinity in Deadwood
Dirty Words in Deadwood Nicolas Witschi Published by University of Nebraska Press For additional information about this book http://muse.jhu.edu/books/9780803264892 Access provided by The Ohio State University (29 Oct 2013 13:13 GMT) 9 Calamity Jane and Female Masculinity in Deadwood Linda Mizejewski While Linda Mizejewski, like other essayists in this collection, considers genre, using revisionist critics of the Western who read “this genre as a space where masculinity, far from being bulletproof and monolithic, has always been un- settled and confl icted,” she also initiates a series of essays that use recent meth- odologies — the construction and performance of gender, queer studies, spatial geography, disability studies — to examine the spaces and characters of the series. Assuming the concepts about the performance of gender put forth by Judith Butler, she turns to Judith Halberstam’s defi nition of “female masculinity” to explore “Deadwood’s dismantling of essentialist masculinity in the Western.” However, rather than revisit the familiar fi gures wrought by John Wayne, Gary Cooper, and Clint Eastwood, Mizejewski focuses on the representation of a woman. Offering her own revisionist reading of the genre, she argues that the fi gure of Calamity Jane points to “the presence of diverse bodies and sexualities within the histories and legends of the West.” Ultimately the representation of Jane serves “as a register of contemporary cultural contentions about gender and sexuality, a dynamic that began in the earliest fi ctionalizations of this