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Electric-Rentbook-5.Pdf
England 2 Colombia 0 Electric Rentbook Issue 5 - September 2000 Winners 2 Discs I (each) 8 Ashville Terrace, Cross Hills, Keigh/ey, West Yorkshire, 8020 7LQ. Email: e/ectric.rentbook@talk2l .com Electric Rentman: Graham Scaife Contributors: Thomas Ovens Richard Ellis Ross McMichael Printers: Dixon Target, 21-25 Main Street, Cross Hills, Keighley, West Yorkshire BD20 STX. ongratulations to Steve Jones of Camborne in CCornwall and Jonathan Oak/ey from St. Acknowledgements: Neots in Cambridgeshire. Thank you to the following good They were the lucky winners of our competition to win a signed promo copy of England 2 Colombia O. people: Highly collectable, due to the fact that it isn't going Kirsty MacColI without whom to be released commercially. this fanzine would definitely not Thank you to all the people who entered the be possible. competition, once again a terrific response, and Lisa-Jane Musselbrook at Major don't despair if you weren't a winner this time Minor Management, for her because coming up in future issues of Electric Rentbook we'll have more chances to win Kirsty continued support and help above goodies. and beyond the call of duty. Pete Glenister for taking time out The answers to the questions are as follows:- to answer my questions . I. Kirsty's first single, which was successfully covered by Tracey Ullman was They Don't Know. Teletext on Channel 4 for the 2. A New England was a cover of Billy Bragg's reviews of all issues of ER thus far. song. David Hyde for continued use of 3. -
ARMISTICE DAY No.5 DEADLINE Friday 31St June 2001
ARMISTICE DAY No.5 DEADLINE Friday 31st June 2001 ARMISTICE DAY 5 A Diplomacy zine from Stephen Agar, 47 Preston Drove, BRIGHTON, BN1 6LA. Tel: 01273-562430. Fax: 01273-706139. Email: [email protected] EDITORIAL own terms, and if they met them (more or less) I’d take I’m afraid that this issue is a little thin. I’m off to the job – and if they didn’t I would say no. I was Sorrento for a Postal Economics conference in a couple gambling that they wouldn’t want to change their mind of days, so I am just going to have to print the zine as it for the sake of a few thousand pounds. Anyway, after a is – no matter how short. It’s either that or delay things protracted haggle over pay and conditions, I ended up another week, which isn’t what I want to do. Part of the taking the job and I start at the beginning of July. So problem is that I never seem to get all the orders in until instead of putting together legal advice I have to come 4-5 days after the deadline! Now, this is a bit of a pain in up with a competitive strategy for UK letters as we enter the ass, especially when I’m trying to be a relatively the brave new world of Regulation and Competition. efficient editor. Therefore, I am introducing three How different this will be from providing the legal input changes: (1) all players with email will get a deadline into strategy remains to be seen – but at least instead of reminder two days before the deadline, (2) I’ll move the criticising the silly decisions of others I know get to deadline to Saturday and (3) I probably won’t wait if make some silly decisions of my very own. -
That Affair Next Door
That Affair Next Door By Anna Katharine Green THAT AFFAIR NEXT DOOR BOOK I MISS BUTTERWORTH'S WINDOW I A DISCOVERY I am not an inquisitive woman, but when, in the middle of a certain warm night in September, I heard a carriage draw up at the adjoining house and stop, I could not resist the temptation of leaving my bed and taking a peep through the curtains of my window. First: because the house was empty, or supposed to be so, the family still being, as I had every reason to believe, in Europe; and secondly: because, not being inquisitive, I often miss in my lonely and single life much that it would be both interesting and profitable for me to know. Luckily I made no such mistake this evening. I rose and looked out, and though I was far from realizing it at the time, took, by so doing, my first step in a course of inquiry which has ended—— But it is too soon to speak of the end. Rather let me tell you what I saw when I parted the curtains of my window in Gramercy Park, on the night of September 17, 1895. Not much at first glance, only a common hack drawn up at the neighboring curb-stone. The lamp which is supposed to light our part of the block is some rods away on the opposite side of the street, so that I obtained but a shadowy glimpse of a young man and woman standing below me on the pavement. I could see, however, that the woman—and not the man—was putting money into the driver's hand. -
A DESPERATE CHARACTER, and OTHER STORIES by Ivan Turgenev Translated from the Russian by Constance Garnett
A DESPERATE CHARACTER, AND OTHER STORIES By Ivan Turgenev Translated from the Russian By Constance Garnett 1899 TO JOSEPH CONRAD WHOSE ART IN ESSENCE OFTEN RECALLS THE ART AND ESSENCE OF TURGENEV INTRODUCTION The six tales now translated for the English reader were written by Turgenev at various dates between 1847 and 1881. Their chronological order is:— Pyetushkov, 1847 The Brigadier, 1867 A Strange Story, 1869 Punin and Baburin, 1874 Old Portraits, 1881 A Desperate Character, 1881 Pyetushkov is the work of a young man of twenty-nine, and its lively, unstrained realism is so bold, intimate, and delicate as to contradict the flattering compliment that the French have paid to one another—that Turgenev had need to dress his art by the aid of French mirrors. Although Pyetushkov shows us, by a certain open naïveté of style, that a youthful hand is at work, it is the hand of a young master, carrying out the realism of the ‘forties’—that of Gogol, Balzac, and Dickens— straightway, with finer point, to find a perfect equilibrium free from any bias or caricature. The whole strength and essence of the realistic method has been developed in Pyetushkov to its just limits. The Russians are instinctive realists, and carry the warmth of life into their pages, which warmth the French seem to lose in clarifying their impressions and crystallising them in art. Pyetushkov is not exquisite: it is irresistible. Note how the reader is transported bodily into Pyetushkov’s stuffy room, and how the major fairly boils out of the two pages he lives in! (pp. -
Humor, Characterization, Plot: the Role of Secondary Characters in Late Eighteenth- and Nineteenth-Century Marriage Novels
Humor, Characterization, Plot: The Role of Secondary Characters in Late Eighteenth- and Nineteenth-Century Marriage Novels Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Katrina M. Peterson, M.A. Graduate Program in English The Ohio State University 2011 Dissertation Committee: Clare Simmons, Adviser Leslie Tannenbaum Jill Galvan ABSTRACT Many late eighteenth- and nineteenth-century British novels utilize laughter as a social corrective, but this same laughter hides other messages about women‘s roles. As the genre‘s popularity widened, writers used novels to express opinions that would be eschewed in other, more established and serious genres. My dissertation argues that humor contributes to narrative meaning; as readers laugh at ―minor‖ characters, their laughter discourages specific behaviors, yet it also masks characters‘ important functions within narrative structure. Each chapter examines one type of humor—irony, parody, satire, and wit—along with a secondary female archetype: the matriarch, the old maid, the monster, and the mentor. Traditionally, the importance of laughter has been minimized, and the role of minor characters understudied. My project seeks to redress this imbalance through focusing on humor, secondary characterization, and plot. Chapter One, ―Irony and The Role of the Matriarch,‖ explores the humorous characterizations of Lady Maclaughlan and Miss Jenkyns within Susan Ferrier‘s Marriage (1818) and Elizabeth Gaskell‘s Cranford (1853). These novels share the following remarkable similarities: 1) they use characterization to unify unusually- structured novels; 2) they focus on humorous figures whose contributions to plot are masked by irony; 3) their matriarchal characters are absent for large portions of the stories; and 4) despite their absences, these figures‘ matriarchal power carries strong feminist implications. -
THE ROLES of the VISUAL in PICTUREBOOKS: BEYOND the CONVENTIONS of CURRENT DISCOURSE DISSERTATION Presented in Partial Fulfillme
THE ROLES OF THE VISUAL IN PICTUREBOOKS: BEYOND THE CONVENTIONS OF CURRENT DISCOURSE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Dominic Catalano, BS, MA, MFA ****** The Ohio State University 2005 Dissertation Committee: Approved by Professor Sydney Walker, Advisor ___________________________________ Professor Ken Marantz Advisor Professor Janet Hickman Art Education Graduate Program Copyright by Dominic Catalano 2005 ABSTRACT The purpose of this investigation is to examine the meaning making potential of the visual properties of the literary and artistic genre known as the picturebook. In addition, the means in which we come to understand the visual in picturebooks is challenged, particularly in regards to written text and in context within the conventions of the larger picturebook community. Through primarily a poststructural semiotic analysis of three major post-1960s picturebook works (plus an addtional work produced by this author), this study demonstrates the deeper potentials of meaning in the visual elements of illustration and design qualties beyond current discourse. Lastly, this deeper potential meaning is qualified as to its impact on the picturebook field itself, as to the making, interpretation, and criticism of picturebooks, and to the utilization in education, especially the practise of visual art education. ii Dedicated to my wife, Oksana, my calm port in life’s stormy sea iii ACKNOWLEDGMENTS I would like to thank Dr. Sydney Walker, for her encouragement and support throughout the writing of this study, and Drs. Kenneth Marantz and Janet Hickman for their expertise in the field. -
COPY(WRITE): INTELLECTUAL PROPERTY in the WRITING CLASSROOM PERSPECTIVES on WRITING Series Editor, Susan H
CopyCopy((write) Intellectual Property in the Writing Classroom Edited by Martine Courant Rife Shaun Slattery Dànielle Nicole DeVoss COPY(WRITE): INTELLECTUAL PROPERTY IN THE WRITING CLASSROOM PERSPECTIVES ON WRITING Series Editor, Susan H. McLeod The Perspectives on Writing series addresses writing studies in a broad sense. Consistent with the wide ranging approaches characteristic of teaching and scholarship in writing across the curriculum, the series presents works that take divergent perspectives on working as a writer, teaching writing, administering writing programs, and studying writing in its various forms. The WAC Clearinghouse and Parlor Press are collaborating so that these books will be widely available through free digital distribution and low-cost print editions. The publishers and the Series editor are teachers and researchers of writing, committed to the principle that knowledge should freely circulate. We see the opportunities that new technologies have for further democratizing knowledge. And we see that to share the power of writing is to share the means for all to articulate their needs, interest, and learning into the great experiment of literacy. Other Books in the Series Charles Bazerman and David R. Russell, Writing Selves/Writing Societies (2003) Gerald P. Delahunty and James Garvey, The English Language: from Sound to Sense (2009) Charles Bazerman, Adair Bonini, and Débora Figueiredo (Eds.), Genre in a Changing World (2009) David Franke, Alex Reid, and Anthony Di Renzo (Eds.), Design Discourse: Composing and -
Grendel Grendel Grendel." Grendel Grendel Grendel: Animating
Torre, Dan, and Lienors Torre. "Scenes of Grendel Grendel Grendel." Grendel Grendel Grendel: Animating . New York,: Bloomsbury Academic, 2021. 31–98. Bloomsbury Collections. Web. 27 Sep. 2021. <http://dx.doi.org/10.5040/9781501337796.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 27 September 2021, 01:57 UTC. Copyright © Dan Torre and Lienors Torre 2021. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Chapter 2 SCENES OF GRENDEL GRENDEL GRENDEL Grendel Grendel Grendel is a significant and a unique (but relatively overlooked) animated film. It is also a disarmingly complex film, and many of its themes and events can go unnoticed on first viewing. As such, this chapter provides a useful and detailed scene-by-scene summation of the animated feature’s narrative. Each of the film’s seventy-odd scenes (sixty-eight plus the introduction and end credit sequence) is described. This chapter also provides lyrics to several of the songs as well as transcriptions of key sections of dialogue. Additionally, a number of frame grabs from the film are also included, which help to provide further context and explication. Although many of these scene summations also include some critical analysis and direct comparisons to Gardner’s book and to the original Beowulf epic – the foremost purpose of this chapter is to provide a very detailed and practical impression of the film, which in turn serves as a basis for subsequent chapters’ more in-depth analysis. -
Artist / Bandnavn Album Tittel Utg.År Label/ Katal.Nr
ARTIST / BANDNAVN ALBUM TITTEL UTG.ÅR LABEL/ KATAL.NR. LAND LP KOMMENTAR A 80-talls synthpop/new wave. Fikk flere hitsingler fra denne skiva, bl.a The look of ABC THE LEXICON OF LOVE 1983 VERTIGO 6359 099 GER LP love, Tears are not enough, All of my heart. Mick fra den første utgaven av Jethro Tull og Blodwyn Pig med sitt soloalbum fra ABRAHAMS, MICK MICK ABRAHAMS 1971 A&M RECORDS SP 4312 USA LP 1971. Drivende god blues / prog rock. Min første og eneste skive med det tyske heavy metal bandet. Et absolutt godt ACCEPT RESTLESS AND WILD 1982 BRAIN 0060.513 GER LP album, med Udo Dirkschneider på hylende vokal. Fikk opplevd Udo og sitt band live på Byscenen i Trondheim november 2017. Meget overraskende og positiv opplevelse, med knallsterke gitarister, og sønnen til Udo på trommer. AC/DC HIGH VOLTAGE 1975 ATL 50257 GER LP Debuten til hardrocker'ne fra Down Under. AC/DC POWERAGE 1978 ATL 50483 GER LP 6.albumet i rekken av mange utgivelser. ACKLES, DAVID AMERICAN GOTHIC 1972 EKS-75032 USA LP Strålende låtskriver, albumet produsert av Bernie Taupin, kompisen til Elton John. HEADLINES AND DEADLINES – THE HITS WARNER BROS. A-HA 1991 EUR LP OF A-HA RECORDS 7599-26773-1 Samlealbum fra de norske gutta, med låter fra perioden 1985-1991 AKKERMAN, JAN PROFILE 1972 HARVEST SHSP 4026 UK LP Soloalbum fra den glimrende gitaristen fra nederlandske progbandet Focus. Akkermann med klassisk gitar, lutt og et stor orkester til hjelp. I tillegg rockere som AKKERMAN, JAN TABERNAKEL 1973 ATCO SD 7032 USA LP Tim Bogert bass og Carmine Appice trommer. -
Table Rock Sentinel Aug 1986
- In the photo above, taken by Natalie Brown, Esther Randle, a receptionist at the Jacksonville Museum, practices resuscitation on poor Armless Annie. Sharon Lumsden, manager of the gift shop, looks on sympathetically. It'll be her turn next. But Annie looks pretty well done-in with all this amateur pumping and prodding. The exercise is part of a class in CPR -- Cardio Pulmonary-Resuscitation- and the Heiml Method given to all employees who work with the public. The training is a state requirement. The ladies in the cover photograph, taken by Abell and Son in Portland, are Jacksonville misses. This is a wedding picture of Fanchon Dowell, on the left, who became Mrs. George McCay Love. The matron of honor, right,is her sister, Annabel Dowell Bannon. They're wearing big dresses so they can dis display lots of ruffles, ribbons, sashes, trains, blackberry bushes and a couple of salads. THE SOUTHERN OREGON HISTORICAL SOCIETY OFFICERS OF THE BOARD OF TRUSTEES Donald D. McLaughlin ............................................ President Coordinator of Exhibits .................................... Jime Matoush Isabel Sickels ............................................ 1st Vice President Curator of Interpretation ................................... Dawna Curler James M. Ragland ................................... 2nd Vice President Coordinator of Photographic Services .............. Natalie Brown Laurel Prairie-Kuntz ................................................ Secretary Curator of Preservation and Maintenance .......... Byron Ferrell William -
The Scarlet Letter
The Scarlet Letter Nathaniel Hawthorne THE EMC MASTERPIECE SERIES Access Editions EMC/Paradigm Publishing St. Paul, Minnesota Staff Credits: For EMC/Paradigm Publishing, St. Paul, Minnesota Laurie Skiba Eileen Slater Editor Editorial Consultant Shannon O’Donnell Taylor Associate Editor For Penobscot School Publishing, Inc., Danvers, Massachusetts Editorial Design and Production Robert D. Shepherd Charles Q. Bent President, Executive Editor Production Manager Christina Kolb Sara Day Managing Editor Art Director Kim Leahy Beaudet Tatiana Cicuto Editor Compositor Sara Hyry Editor Marilyn Murphy Shepherd Editor Sharon Salinger Copyeditor ISBN 0–8219–1617–3 Copyright © 1998 by EMC Corporation All rights reserved. No part of this publication may be adapted, reproduced, stored in a retrieval system or transmitted in any form or by any means, elec- tronic, mechanical, photocopying, recording, or otherwise without permis- sion from the publishers. Published by EMC/Paradigm Publishing 875 Montreal Way St. Paul, Minnesota 55102 Printed in the United States of America. 10 9 8 7 6 5 4 3 xxx 02 01 00 99 98 97 Table of Contents The Life and Works of Nathaniel Hawthorne . iv Time Line of Hawthorne’s Life. vi The Historical Context of The Scarlet Letter . viii Characters in The Scarlet Letter . xii Illustrations. xiv The Custom-House, Introductory to “The Scarlet Letter” 1 Chapter I, The Prison-Door . 42 Chapter II, The Market-Place. 44 Chapter III, The Recognition. 56 Chapter IV, The Interview . 65 Chapter V, Hester at Her Needle . 74 Chapter VI, Pearl . 83 Chapter VII, The Governor’s Hall . 93 Chapter VIII, The Elf-Child and the Minister. -
Press Release – March 2016 – New Show & Album Announcement
PRESS RELEASE – MARCH 2016 – NEW SHOW & ALBUM ANNOUNCEMENT PRESS RELEASE ISSUE DATE: MARCH 2016 ALL MEDIA – UK & AUSTRALIA [words: 488; characters inc. spaces: 2,880] PDF & txt download: http://karenjwhite.com.au/karen-j-white_media.html Karen J White, an idiosyncratic performer favouring the quirky and unusual, announces she is preparing for her next show and album “A Tribute to the Music of Kirsty MacColl” to tour both in Australia and the UK starting in 2016. A long time inspiration to Karen Kirsty’s music has been a major draw card to her. Recent attendances to “Kirstyfest” [an annual event (October) starting in Soho Square London] along with calls from Karen’s following has inspired her to create a performance as a tribute to Kirsty’s music. Indeed Karen has some 50 odd of Kirsty’s songs in her repertoire and has already covered some in her existing albums and her “Quintessential Quirk” shows. Whilst Karen’s “A Tribute to the Music of Kirsty MacColl” show solely reflects on Kirsty’s great career the songs will be showcased by Karen in Karen’s own, often quirky, style. Karen says “whilst the overall theme will remain each show will be different both in terms of song content and supporting artists*1 – in some instances I will be performing solo, others as a duo/trio, and where I can a full band; today economics dictate that few performers can afford to travel with a full compliment of players and crew, instead relying upon a trusted pool of talented musicians/performers local to the venue.” Like Kirsty Karen was born in England in the 50s.