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Lord Lyon King of Arms
VI. E FEUDAE BOBETH TH F O LS BABONAG F SCOTLANDO E . BY THOMAS INNES OP LEABNEY AND KINNAIRDY, F.S.A.ScoT., LORD LYON KIN ARMSF GO . Read October 27, 1945. The Baronage is an Order derived partly from the allodial system of territorial tribalis whicn mi patriarce hth h hel s countrydhi "under God", d partlan y froe latemth r feudal system—whic e shale wasw hse n li , Western Europe at any rate, itself a developed form of tribalism—in which the territory came to be held "of and under" the King (i.e. "head of the kindred") in an organised parental realm. The robes and insignia of the Baronage will be found to trace back to both these forms of tenure, which first require some examination from angle t usuallno s y co-ordinatedf i , the later insignia (not to add, the writer thinks, some of even the earlier understoode symbolsb o t e )ar . Feudalism has aptly been described as "the development, the extension organisatione th y sa y e Family",o familyth fma e oe th f on n r i upon,2o d an Scotlandrelationn i Land;e d th , an to fundamentall o s , tribaa y l country, wher e predominanth e t influences have consistently been Tribality and Inheritance,3 the feudal system was immensely popular, took root as a means of consolidating and preserving the earlier clannish institutions,4 e clan-systeth d an m itself was s modera , n historian recognisew no s t no , only closely intermingled with feudalism, but that clan-system was "feudal in the strictly historical sense".5 1 Stavanger Museums Aarshefle, 1016. -
Die Beach-Party-Filme (1963-1968) Zusammengestellt Von Katja Bruns Und James Zu Hüningen
Kieler Beiträge zur Filmmusikforschung, 5.4, 2011 // 623 Die Beach-Party-Filme (1963-1968) Zusammengestellt von Katja Bruns und James zu Hüningen Inhalt: Alphabetisches Verzeichnis der Filme Chronologisches Verzeichnis der Filme Literatur Als Beach Party Movies bezeichnet man ein kleines Genre von Filmen, das sich um die Produktionen der American International Pictures (AIP) versammelt. Zwar gab es eine Reihe von Vorläufern – zuallererst ist die Columbia-Produktion GIDGET aus dem Jahre 1959 zu nennen (nach einem Erfolgsroman von Frederick Kohner), in dem Sandra Dee als Surferin aufgetreten war –, doch beginnt die kurze Erfolgsgeschichte des Genres erst mit BEACH PARTY (1963), einer AIP-Produktion, die einen ebenso unerwarteten wie großen Kassenerfolg hatte. AIP hatte das Grundmuster der Gidget-Filme kopiert, die Geschichte um diverse Musiknummern angereichert, die oft auch als performances seinerzeit populärer Bands im Film selbst szenisch ausgeführt wurden, und die Darstellerinnen in zahlreichen Bikini-Szenen ausgestellt (exponierte männliche Körper traten erst in den Surfer-Szenen etwas später hinzu). Das AIP-Konzept spekulierte auf einen primär jugendlichen Kreis von Zuschauern, weshalb – anders, als noch in der GIDGET-Geschichte – die Rollen der Eltern und anderer Erziehungsberechtigter deutlich zurückgenommen wurden. Allerdings spielen die Auseinandersetzungen mit Eltern, vor allem das Erlernen eines selbstbestimmten Umgangs mit der eigenen Sexualität in allen Filmen eine zentrale dramatische Rolle. Dass die Jugendlichen meist in peer groups auftreten und dass es dabei zu Rang- oder Machtkämpfen kommt, tritt dagegen ganz zurück. Es handelte sich ausschließlich um minimal budgetierte Filme, die on location vor allem an den Stränden Kaliforniens (meist am Paradise Cove) aufgenommen wurden; später kamen auch Aufnahmen auf Hawaii und an anderen berühmten Surfer-Stränden zustande. -
Vision, Desire and Economies of Transgression in the Films of Jess Franco
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. -
IN the UNITED STATES DISTRICT COURT for the DISTRICT of COLUMBIA CABLE NEWS NETWORK, INC. and ABILIO JAMES ACOSTA, Plaintiffs, V
Case 1:18-cv-02610-TJK Document 6-1 Filed 11/13/18 Page 1 of 23 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA CABLE NEWS NETWORK, INC. and ABILIO JAMES ACOSTA, Plaintiffs, v. DONALD J. TRUMP, in his official capacity as President of the United States; JOHN F. KELLY, in his official capacity as Chief of Staff to the President of the United States; WILLIAM SHINE, in his official capacity as Deputy Chief Case No. 1:18-cv-02610-TJK of Staff to the President of the United States; SARAH HUCKABEE SANDERS, in her official capacity as Press Secretary to the President of the United States; the UNITED STATES SECRET SERVICE; RANDOLPH ALLES, in his official capacity as Director of the United States Secret Service; and JOHN DOE, Secret Service Agent, in his official capacity, Defendants. BRIEF OF THE REPORTERS COMMITTEE FOR FREEDOM OF THE PRESS AS AMICUS CURIAE SUPPORTING PLAINTIFFS’ MOTIONS FOR A TEMPORARY RESTRAINING ORDER AND PRELIMINARY INJUNCTION Case 1:18-cv-02610-TJK Document 6-1 Filed 11/13/18 Page 2 of 23 TABLE OF CONTENTS TABLE OF CONTENTS ................................................................................................................. i TABLE OF AUTHORITIES .......................................................................................................... ii INTEREST OF AMICUS CURIAE ............................................................................................... 1 INTRODUCTION ......................................................................................................................... -
Constructing the Witch in Contemporary American Popular Culture
"SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans. -
The Trump Presidency, Journalism, and Democracy
The Trump Presidency, Journalism, and Democracy Edited by Robert E. Gutsche, Jr. First published 2018 ISBN 13:978-1-138-30738-4 (hbk) ISBN 13:978-1-315-14232-6 (ebk) Chapter 7 The Hell that Black People Live Trump’s Reports to Journalists on Urban Conditions Carolyn Guniss CC BY-NC-ND 4.0 7 The Hell that Black People Live Trump’s Reports to Journalists on Urban Conditions Carolyn Guniss It’s February 16, 2017. Donald J. Trump has been in the White House as Commander-in-Chief for just about a month. Trump holds a press conference to announce that he had nominated Alexander Acosta, a Hispanic man, as the U.S. Secretary of Labor. He uses the moment to update Americans about the “mess at home and abroad” that he inherited. He also took questions from journalists at his first press conference as president. Trump takes a question from April Ryan, a veteran White House cor- respondent for American Urban Radio Networks. She has been in that role since 1997, is in the process of covering her fourth U.S. president, and serves as the radio network’s Washington, D.C. bureau chief. Standing about midpoint, to the left of the room for the viewers, she signals to Trump that she wants to ask a question. Trump does what he does best when dealing with people of color: He finds a way to offend Ryan. “Yes, oh, this is going to be a bad question, but that’s OK,” he said. It is unclear what Trump meant by the statement, but whatever he meant, it wasn’t positive. -
Wizard of Oz Red 2Bused.Fdx
The Wizard of OZ __________________________ a LINX adaptation RED CAST LINX 141 LINDEN ST. WELLESLEY, MA 01746 (781) 235-3210 [email protected] PROLOGUE [ALL] GLINDA GREETS THE AUDIENCE CURTAIN OPENS. Behind the curtain is GLINDA. She looks at the audience with wonder.] GLINDA_PP What a wonderful audience. So many excited and eager faces. Are we all ready for an adventure? Watch one another’s back now. Things do sneak up on you in Oz. Fortunately, they can be very nice things... (points to back of house) Like that... 1ST SONG - FIREWORK ACT I, SCENE 1 [PP] IN WHICH DOROTHY IS CALLED BEFORE THE WIZARD. CHARACTERS: WIZARD, DOROTHY, SCARECROW, LION, TIN MAN [Head of Wizard hovers before audience. Below, Dorothy, Scarecrow, Lion and Tin Man tremble in terror. Mid-runner curtain is closed behind them. Also onstage is a booth with a hanging curtain. Thick ducts branch out from the booth.] WIZARD I am the great and powerful OZ! Who dares approach me? [Scarecrow, Lion and Tin Man shove Dorothy forward. Dorothy looks back at them.] SCARECROW_PP You got this. LION_PP We’re right behind you. [Dorothy turns toward Wizard. Scarecrow, Lion and Tin Man shuffle backwards. Dorothy turns to them, noticing the increased distance.] TIN MAN_PP Right behind you! 2. WIZARD (to Dorothy) Who are you? DOROTHY_PP My name is Dorothy. Dorothy Gale. WIZARD And where do you come from, “Dorothy Gale”? DOROTHY_PP Kansas. WIZARD Kansas? (long pause) What is Kansas? DOROTHY_PP It’s a place. My home - and I so want to return. A tornado picked up my home, picked up me and my little dog - only, he’s not so little anymore. -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
2019 Maverick Graphic Novel Annotated Reading List
2019 Maverick Graphic Novel Annotated Reading List Grades 6-8 Breach, J., & Holgate, D. (2018). Clem Hetherington and the Ironwood race. New York: Graphix, an imprint of Scholastic. ISBN: 9780545814461 Publisher’s Summary: “A dangerous rally race... and archaeology?! Clementine Hetherington and her robot brother, Digory, have run away from the orphanage they've been living in since their parents died. Clem and Dig want to follow in their famous archaeologist mother's footsteps, but no one will take them seriously. Their chance arrives when a man from their past saves Digory's life, and to repay the debt they enter a multi-day rally race... to recover stolen artifacts! Clem and Dig hope to win so they can give them to a museum, but their opponents want to sell them on the black market. The Ironwood Race has no rules, and Clem and Dig might be in over their heads!” Great story about orphaned girl and her robot brother. The siblings must repay a debt by competing in a race for archeological artifacts.” Commentary: Clem Hetherington and the Ironwood race is a fun adventure that will appeal to both middle grade and high school students. 2018 Maverick Graphic Novel Annotated Reading List 1 Brosgol, V. B. (2018). Be Prepared. Place of publication not identified: First Second. ISBN: 9781626724457 Publisher’s Summary: "In Be Prepared, all Vera wants to do is fit in—but that’s not easy for a Russian girl in the suburbs. Her friends live in fancy houses and their parents can afford to send them to the best summer camps. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 115 CONGRESS, SECOND SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 115 CONGRESS, SECOND SESSION Vol. 164 WASHINGTON, THURSDAY, JULY 12, 2018 No. 117 House of Representatives The House met at 10 a.m. and was In April 2010, members of the Penn- fices in McKean County and Harris- called to order by the Speaker pro tem- sylvania Oil and Gas Association and burg. The association employs an pore (Mr. DESJARLAIS). the Independent Oil and Gas Associa- eight-person staff, and each year, f tion of Pennsylvania, IOGA, unani- PIOGA hosts several conferences, semi- mously voted to merge the two organi- nars, public educational meetings, DESIGNATION OF SPEAKER PRO zations into a single, comprehensive presentations, and community events TEMPORE trade association representing oil and at a variety of locations across the The SPEAKER pro tempore laid be- natural gas interests throughout Penn- Commonwealth of Pennsylvania. fore the House the following commu- sylvania. Mr. Speaker, I wish PIOGA the best nication from the Speaker: The merger reunited two organiza- as it gathers in Titusville to celebrate WASHINGTON, DC, tions that had split apart nearly some 100 years of growth and sustainability July 12, 2018. 30 years earlier to form the Pennsyl- in the Pennsylvania oil and gas indus- I hereby appoint the Honorable SCOTT vania Independent Oil and Gas Associa- try. The industry has a rich history in DESJARLAIS to act as Speaker pro tempore tion, or PIOGA. the Commonwealth, and I know that, on this day. A century later, industry leaders, as PIOGA looks forward to the future, PAUL D. -
Cinemeducation Movies Have Long Been Utilized to Highlight Varied
Cinemeducation Movies have long been utilized to highlight varied areas in the field of psychiatry, including the role of the psychiatrist, issues in medical ethics, and the stigma toward people with mental illness. Furthermore, courses designed to teach psychopathology to trainees have traditionally used examples from art and literature to emphasize major teaching points. The integration of creative methods to teach psychiatry residents is essential as course directors are met with the challenge of captivating trainees with increasing demands on time and resources. Teachers must continue to strive to create learning environments that give residents opportunities to apply, analyze, synthesize, and evaluate information (1). To reach this goal, the use of film for teaching may have advantages over traditional didactics. Films are efficient, as they present a controlled patient scenario that can be used repeatedly from year to year. Psychiatry residency curricula that have incorporated viewing contemporary films were found to be useful and enjoyable pertaining to the field of psychiatry in general (2) as well as specific issues within psychiatry, such as acculturation (3). The construction of a formal movie club has also been shown to be a novel way to teach psychiatry residents various aspects of psychiatry (4). Introducing REDRUMTM Building on Kalra et al. (4), we created REDRUMTM (Reviewing [Mental] Disorders with a Reverent Understanding of the Macabre), a Psychopathology curriculum for PGY-1 and -2 residents at Rutgers Robert Wood Johnson Medical School. REDRUMTM teaches topics in mental illnesses by use of the horror genre. We chose this genre in part because of its immense popularity; the tropes that are portrayed resonate with people at an unconscious level. -
ORANGE IS the NEW BLACK Season 1 Cast List SERIES
ORANGE IS THE NEW BLACK Season 1 Cast List SERIES REGULARS PIPER – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS MISS CLAUDETTE PELAGE – MICHELLE HURST GALINA “RED” REZNIKOV – KATE MULGREW ALEX VAUSE – LAURA PREPON SAM HEALY – MICHAEL HARNEY RECURRING CAST NICKY NICHOLS – NATASHA LYONNE (Episodes 1 – 13) PORNSTACHE MENDEZ – PABLO SCHREIBER (Episodes 1 – 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 1 – 13) JOHN BENNETT – MATT MCGORRY (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL MORELLO (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13) BIG BOO – LEA DELARIA (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) TASHA “TAYSTEE” JEFFERSON – DANIELLE BROOKS (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13) YOGA JONES – CONSTANCE SHULMAN (Episodes 1, 2, 4, 5, 6, 7, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13) S. O’NEILL – JOEL MARSH GARLAND (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) CRAZY EYES – UZO ADUBA (Episodes 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) POLLY HARPER – MARIA DIZZIA (Episodes 1, 2, 3, 5, 6, 7, 8, 9, 10, 12) JANAE WATSON – VICKY JEUDY (Episodes 1, 2, 3, 4, 7, 9, 10, 11, 12, 13) WANDA BELL – CATHERINE CURTIN (Episodes 1, 2, 3, 5, 6, 7, 9, 10, 11, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 5, 6, 7, 9, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 5, 6, 7, 8, 9, 11, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUEZ