1 Historical Romance Guide Alexander, Victoria
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Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Owen Glendower and the Failure of Historical Romance
52 53 Yankee puritanism and Southern aristocracy, was evinced in American literature as early as the works of James Fenimore Cooper. More recently, revisionist historical works, such as Stephen Saunders Webb, 1676: The End of American Independence (New York: Knopf, 1984) and Francis Jennings, The Invasion of America, have The Mythology of Escape: Owen expanded on the Cooper vision of the upstate New York-native Glendower and the Failure of American connection. These works have enhanced the sense of the Historical Romance native Americans as historical actors, not just passive primitives. This is far more Powysian in spirit than a view of the Indians as noble, poetic savages, transatlantic "Celts." Ian Duncan 12 Powys's interest in this area was, as usual, clairvoyant and prophetic; it went unmatched in any visible American literary production until the recent appearance of William Least Heat Owen Glendower, so melancholy in its Moon's PriaryErth, (Boston: Houghton Mifflin, 1991). preoccupation with lost origins, was the novel of John Cowper Powys's "homecoming." In 1934, Powys imposed a deceptive narrative closure upon the first sixty years of his life in the great Autobiography, and left America, where he had written his Wessex romances, to return to Britain, eventually settling in Wales in 1936. Powys's Welsh essays, collected in Obstinate Cymric (1947), record the identification of his "philosophy up-to-date" with "the idea of Wales" as a configuration of landscape, mythology and race.l Yet Powys had never lived there; the place of -
Introduction
Abstract: This essay looks at the interconnections between the cultural industry of popular romance and best-selling novels set in an Irish historical context. In particular, it examines two best-selling novels by North American author Karen Robards, which have not yet been examined in academia: Dark of the Moon (1988) and Forbidden Love (2013; originally published in 1983). Although this small selection constitutes only a preliminary study of an expanding popular genre, it is my hope that it will serve as a relevant example of how Ireland is exoticised in the transnational cultural industry of romance. Drawing on several studies on popular romance (Radway 1984; Strehle and Carden 2009; and Roach 2016), and on specific sources devoted to the study of historical romance, in particular when set in exotic locations (Hughes 2005; Philips 2011; Teo 2012; 2016), I intend to demonstrate how these novels by Karen Robards follow the clichés and conventions of the typical romances produced in the 1980s. As I show, the popularity that Robards’ novels still enjoy reflects the supremacy of the genre and the wide reception of this kind of fiction in the global market. Keywords: Cultural industry; popular romance; Irish context; market. Introduction In her semi-academic, ethnographic study Happily-Ever-After, Catherine Roach (4) identifies romance as “the prime cultural narrative of the modern Western world”. This is a best-selling genre which dominates the publishing industry, particularly in North America and other Western European countries. It is generally a woman-centred genre, as most authors and readers are female (110). The basic plot of the (heterosexual) romance narrative revolves around a hero and a heroine, who fall in love, work through many trials and tribulations and end up happily. -
CONQUEST BOOK 1: Daughter of the Last King by Tracey Warr
CONQUEST BOOK 1: Daughter of the Last King By Tracey Warr 1093. The three sons of William the Conqueror – Robert Duke of Normandy, William II King of England and Count Henry – fight with each other for control of the Anglo-Norman kingdom created by their father’s conquest. Meanwhile, Nesta ferch Rhys, the daughter of the last independent Welsh king, is captured during the Norman assault of her lands. Raised with her captors, the powerful Montgommery family, Nes- ta is educated to be the wife of Arnulf of Montgommery, in spite of her pre-existing betrothal to a Welsh prince. Who will Nesta marry and can the Welsh rebels oust the Normans? Daughter of the Last King is the first in the Conquest Trilogy. Published: 1 Sept 2016 ISBN: 9781907605819 Price: £9.99 Category: Historical fiction, historical romance, medieval All marketing and publicity enquiries: [email protected] Author Bio Tracey Warr is a writer based in Wales and France, and has published novels and books on contemporary art. She was Senior Lecturer, teaching and researching on art history and theory of the 20th and 21st centuries, at Oxford Brookes Universi- ty, Bauhaus University and Dartington College of Arts. Her first novel, Almodis: The Peaceweaver (Impress, 2011), is set in 11th century France and Spain, and was shortlisted for the Impress Prize for New Fiction and the Rome Film Festival Book Initiative and received a Santander Research Award. Her second historical novel, The Viking Hostage (Impress, 2014), is set in 10th century France and Wales. She received a Literature Wales Writer’s Bursary for work on her new trilogy, Con- quest, set in 12th century Wales, England and Normandy. -
The Treatment of Gender in Twentieth-Century Scottish Women’S Historical Fiction
The Treatment of Gender in Twentieth-century Scottish Women’s Historical Fiction Amanda J. McLeod University of Glasgow March 2001 Submitted for the degree of MLit . ProQuest Number: 13833905 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833905 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 f GLASGOW UNIVERSITY LIBRARY: 12300-O ? I 2 Contents • Abstract..............................................................................................................................3 • Acknowledgements ...........................................................................................................5 • List of Abbreviations .........................................................................................................6 • Introduction: Women’s Historical Fiction: A Contradiction in Terms? ........................ 7 • Chapter 1: Unchallenging Histories: Early Historical Fiction and Later Historical Romance by Scottish Women ....................................................................................... -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Paranormal Romance Guide Adair, Cherry. “Black Magic.”
Paranormal Romance Guide Adair, Cherry. “Black Magic.” Pocket Star. Ever since the death of her parents, Sara Temple has rejected her magical gifts. Then, in a moment of extreme danger, she unknowingly sends out a telepathic cry for help; to the one man she is convinced she never wants to see again. Jackson Slater thought he was done forever with his ex-fiance, but when he hears her desperate plea, he teleports halfway around the world to aid her in a situation where magic has gone suddenly, brutally wrong. But while Sara and Jack remain convinced they are completely mismatched, the Wizard Council feels otherwise. A dark force is killing some of the world’s most influential wizards, and the ex-lovers have just proved their abilities are mysteriously amplified when they work together. But with the fate of the world at stake, will the violent emotions still simmering between them drive them farther apart or bring them back together? Alexander, Cassie. “Nightshifted.” St. Martin’s Press. Nursing school prepared Edie Spence for a lot of things. Burn victims? No problem. Severed limbs? Piece of cake. Vampires? No way in hell. But as the newest nurse on Y4, the secret ward hidden in the bowels of County Hospital, Edie has her hands full with every paranormal patient you can imagine, from vamps and were-things to zombies and beyond. Edie’s just trying to learn the ropes so she can get through her latest shift unscathed. But when a vampire servant turns to dust under her watch, all hell breaks loose. -
~A~C~ HISTORY POSTAL
BRITISH COLIIMBIA ~~A~c~ HISTORY POSTAL ~POSTOFFICE - RESEARCH GROUP ,~j ~~ g G number 69 Apri12009 Volume 18 Number 1 Whole MORE CHINESE CORNER CARDS TO BRITISH COLUMBIA Thanks to Bob Forster Sent via Wells, Fargo & Co.s Express from San Francisco to Yale, B.C. Mailed by "Quong Marn Long & Co., dealer in groceries and provisions, 820 Duront St. San Francisco -.f~ ._. ~~~ i -.~~ v ~.. m~ F I~ b~ ~ ~~ o Q~1 .~ ~ /` ___ ;. ~ + _.z _ ~.v _ _ I~ J 1 D ~ ~ ~ / v/, ^ m /~ /III(`✓ ~~/J ;, a, i ~ -, 1~ ` .. y f ~ .1 .1 ~ • ~J ;(~ r ~~e'.~'1 xY~i :s::ms1+ v: .i~.N~iG~aV.os'.1F:t~swtc+f /~•~:. ~•i OVE` R,QI~R CA't:1f0 NiA ANp~ODAST..RO~ U, E^~ P• / f~ ~~ 1 ,/~!~ ~ i .1 i r i ,, ~~ ; ~: ;' ~~~L ~' ~ ^ ~ ~~~ rr ~, , ., There seems to be no valid reason for the Chinese instructions at the left of each cover. BRITISH COLUMBIA RESEARCH Page 588 Regular Standard ~ ~ 0028 1420 0015 6359 1r~P 5K2 I ~~ mai Fhb=•..ptr=~~e~„= 9 „m I y~a'si ~ f of conialn env Ina co ~il~ni pa. de Slpnttun R~qulntl ma~idie. d,,,ge~e,,,e: Slpnature Req=be ~ ~ ~ ~ Older style bar code RICHMOND PARCEL PROCESSING HUB In 2002 the Vancouver parcel processing plant was moved from the MPP on Georgia Street in downtown Vancouver to a new facility on Number 6 Road in Eastern Richmond. The new plant was considered to be state of the art in that most ofthe parcel mail was moved on conveyor belt using limited bar coding. -
Why Me Lord.P7
This book is designed for your personal reading pleasure and profit. It is also designed for group study. A leader’s guide with helps and hints for teachers and visual aids (Victor Multiuse Transparency Masters) is available from your local bookstore or from the publisher. Fifth printing, 1987 Most of the Scripture quotations in this book are from the King James Version of the Bible (KJV). Other quotations are from the Holy Bible: New International Version (NIV), © 1973, 1978, 1984, International Bible Society. Used by permission of Zondervan Bible Publishers; the New American Standard Bible (NASB), © the Lockman Foundation, 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977. Used by permission. Recommended Dewey Decimal Classification: 241.1 Suggested subject heading: THE WILL OF GOD IN CRISES Library of Congress Catalog Card Number 80-52947 ISBN: 0-89693-007-6 © 1981 by SP Publications, Inc. All rights reserved Printed in the United States of America VICTOR BOOKS A division of SP Publications, Inc. Wheaton, Illinois 60187 Dedication To the women in my life: Mary, my mother Emma, Pat, and Lillian, my sisters Cathy, my wife Lori, my daughter Gerrie, my editor Gloria, my secretary Anita, my typist Contents Preface 9 Part I—How to Live 1 Why? Why? Why? 13 2 The Choice Is Yours 22 3Triumph Out of Tragedy 28 Part II—How to Die 4 Life after All 39 5 Am I Normal? 45 6 Broken Hearts Do Heal 52 Part III—How to Help 7 How to Help a Grieving Friend 63 8 Helping a Friend Cope with a Terminal Illness 73 9 How to Explain Death to a Child 82 10 Making the Funeral Arrangements 90 11 After the Funeral Is Ove 98 12 Preparing for Your Own Death 105 13 Questions and Answers about Death— 112 Can a Christian Commit Suicide? 112 What Happens to People between Death and the Resurrection? 113 Will We Know Each Other in Heaven? 114 Is Dying Painful? 115 What Happens to Babies after Death? 116 What Is Heaven Like? 117 Preface How to live! How to die! We all need to know how to do that. -
Agatha Christie
Agatha Christie Investigating Femininity Merja Makinen Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and over- worked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Published titles include: Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Ed Christian (editor) THE POST-COLONIAL DETECTIVE Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Lee Horsley THE NOIR THRILLER Merja Makinen AGATHA CHRISTIE Investigating Femininity Fran Mason AMERICAN GANGSTER CINEMA From Little Caesar to Pulp Fiction Linden Peach MASQUERADE, CRIME AND FICTION Susan Rowland FROM AGATHA CHRISTIE TO RUTH RENDELL British Women Writers in Detective and Crime Fiction Adrian Schober POSSESSED CHILD NARRATIVES IN LITERATURE AND FILM Contrary States Heather Worthington THE RISE OF THE DETECTIVE IN EARLY NINETEENTH-CENTURY POPULAR FICTION Crime Files Series Standing Order ISBN 978-0-333-71471-3 (Hardback) ISBN 978-0-333-93064-9 (Paperback) (outside North America only) You can receive future titles in this series as they are published by placing a standing order. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Report to the U. S. Congress for the Year Ending December 31, 2003
Report to the U.S.Congress for the Year Ending December 31,2003 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 30, 2004 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with Public Law 104-285 (Title II), The National Film Preservation Foundation Act of 1996, I submit to the U.S. Congress the 2003 Report of the National Film Preservation Foundation. It gives me great pleasure to review our accomplishments in carrying out this Congressional mandate. Since commencing service to the archival community in 1997, we have helped save 630 historically and culturally significant films from 98 institutions across 34 states and the District of Columbia. We have produced The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the first such publication designed specifically for regional preservationists, and have pioneered in pre- senting archival films on widely distributed DVDs and on American television. Unseen for decades, motion pictures preserved through our programs are now extensively used in study and exhibition. There is still much to do. This year Congress will consider the reauthorization of our federal grant programs. Increased funding will enable us to expand service to the nation’s archives, libraries, and museums and do more toward saving America’s film heritage for future generations. The film preser- vation community appreciates your efforts to make the case for increased federal investment. We are deeply grateful for your leadership. Space does not permit my acknowledging all those supporting our efforts in 2003, but I would like to single out several organizations that have played an especially significant role: the National Endowment for the Humanities, The Andrew W.