LONDON 2019 Estates and Backlist
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Woman War Correspondent,” 1846-1945
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository CONDITIONS OF ACCEPTANCE: THE UNITED STATES MILITARY, THE PRESS, AND THE “WOMAN WAR CORRESPONDENT,” 1846-1945 Carolyn M. Edy A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Journalism and Mass Communication. Chapel Hill 2012 Approved by: Jean Folkerts W. Fitzhugh Brundage Jacquelyn Dowd Hall Frank E. Fee, Jr. Barbara Friedman ©2012 Carolyn Martindale Edy ALL RIGHTS RESERVED ii Abstract CAROLYN M. EDY: Conditions of Acceptance: The United States Military, the Press, and the “Woman War Correspondent,” 1846-1945 (Under the direction of Jean Folkerts) This dissertation chronicles the history of American women who worked as war correspondents through the end of World War II, demonstrating the ways the military, the press, and women themselves constructed categories for war reporting that promoted and prevented women’s access to war: the “war correspondent,” who covered war-related news, and the “woman war correspondent,” who covered the woman’s angle of war. As the first study to examine these concepts, from their emergence in the press through their use in military directives, this dissertation relies upon a variety of sources to consider the roles and influences, not only of the women who worked as war correspondents but of the individuals and institutions surrounding their work. Nineteenth and early 20th century newspapers continually featured the woman war correspondent—often as the first or only of her kind, even as they wrote about more than sixty such women by 1914. -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
From Dimitrios with Love Ian Fleming’S Cold War Revision of Eric Ambler’S a Coffn for Ififrr Fos
From Dimitrios with Love Ian Fleming’s Cold War Revision of Eric Ambler’s A Coffn for ififrr fos LUCAS TOWNSEND One of the most recognisable titles of Cold War popular fction is certainly Ian Fleming’s 1957 no el From Russia With Love! Listed among American $resident %ohn F! &ennedy’s top ten fa ourite no els in Life magazine and later mar(ing Sean Connery’s second flm appearance as %ames *ond+ Russia occupies a cross, roads of multilateral Cold War culture, becoming a -uintessential mar(er of the deadlocked political tensions bet.een /ast and West! Russia .as a noticeable de, parture from the successful formula Fleming de eloped in the four *ond no els that preceded it0 Casino Royale+ Live and Let Die+ Moonraker+ and Diamonds Are For- ever! In Russia+ *ond’s chief 1 orders him to Istanbul on a mission to 2pimp for England3 4Fleming 5615b, 1177 and seduce the beautiful So iet cipher cler( 8a, tiana 9omano a. In e:change, 8atiana ofers a cutting-edge So iet encryption machine, the )pe(tor! As the reader learns from the opening section of the no el+ this is an elaborate ploy+ a 2honey trap3 laid by the So iet <nion’s )1/9)=1 intelligence branch to cripple the reputation of the *ritish Secret Ser, ice in a murder-suicide se: scandal in ol ing their best agent! Russia’s uni-ue 1 #s Fleming defnes it+ 2)1/9)= is a contraction of >)miert )pionam ?Смерть Шпионам@+’ .hich means >Aeath to )pies’3 45615b+ 577! )1/9)= 4СМЕРШ 7 .as a real col, laborati e department of se eral )oviet counterintelligence agencies! Lucas Townsend is .n /A 0.n*i*.)e in Englis1 .) 2lori*. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays. -
APPENDIX .A. Note on the Present Position of the Munich Agreement of 29 September 1938
APPENDIX .A. Note on the Present Position of the Munich Agreement of 29 September 1938 THE Munich Agreement, concluded between Germany, the United Kingdom, France and Italy for the cession of the Sudeten German territory by Czecho slovakia, although officially dated 29 September 1938, was in reality signed in the small hours of the morning of 30 September. l To it was annexed a declaration by the British and French Governments guaranteeing the new boundaries of the Czechoslovak state against unprovoked aggression. Germany and Italy also agreed to give a similar guarantee to Czechoslovakia 'when the question of the Polish and Hungarian minorities in Czechoslovakia had been settled'. It was further declared that the problems of these minorities in Czechoslovakia, if not settled within three months by agreement between the respective Governments, 'shall form the subject of another meeting of the Heads of the Governments of the four Powers here present'. Because of its nature, the Munich Agreement was not subject to the usual forms of ratification, and no provision for such procedure was included in its text. Parliamentary approval was accorded to Mr Chamberlain and to M. Daladier, on 6 and 5 October respectively, by means of votes of confidence but by the time these had been given in the House of Commons and the Chamber of Deputies the terms of the Munich Agreement were already a fait accompli. On 2 November 1938 the German and Italian Foreign Ministers, Ribben trop and Ciano, handed down the First Vienna Award, which, without consultation with, or reference to, the British and French Governments, adjudicated the fate of the Polish and Hungarian minorities in Czechoslovakia, in violation of the annexe to the Munich Agreement.2 The structure set up by the Munich Agreement was destroyed on 15 March 1939 when Hitler proclaimed that 'Czechoslovakia has ceased to exist'. -
Journey Into Fear Free
FREE JOURNEY INTO FEAR PDF Eric Ambler,Norman Stone | 224 pages | 01 Jul 2009 | Penguin Books Ltd | 9780141190303 | English | London, United Kingdom Journey Into Fear by Eric Ambler AllMovie relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Action Comedy Drama Comedy. Horror Thriller Drama. Science Fiction Romance Adventure. Western Mystery All Genres. Comedy on the Edge Eyepoppers Fantastic Reality. Tough Guys Trashy All Moods. Kidnapping Prostitutes Sexual Awakening. Witches Zombies All Themes. Features Reviews Lists. Watch Online News All Posts. Facebook Twitter RSS. Flags Suitable for Children. Orson Welles had planned to produce, direct and star Journey into Fear RKO's Journey Into Fearbut prior commitments compelled him to vacate the director's chair in favor of Norman Foster. Joseph Cottenwho starred as an American gunnery engineer up to his armpits in international intrigue, adapted the screenplay from the Journey into Fear by Eric Ambler. Targeted for extermination by the Gestapo, Cotten secretly books passage on a steamer bound from Turkey to Batumi. His fellow passengers include dancer Dolores Del Rio and her gigolo partner Jack Durant ; talkative Frenchwoman Agnes Moorehead and her browbeaten husband Frank Readick ; German archaeologist Journey into Fear Wyatt ; and a secretive, obese, thick-spectacled Journey into Fear, played by Orson Welles ' business partner Jack Moss. From the outset, it is no secret that Moss is a Nazi assassin. The question: who are his contacts, and how long will it be before Cotten is forced into a showdown? The very complex storyline was made even more Journey into Fear by RKO's decision to pare the film down to 69 minutes; several resultant plot gaps had to be bridged by an ongoing offscreen narration, presented in the form of a letter written by Cotten to his worried wife Ruth Warrick. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Golden Man Booker Prize Shortlist Celebrating Five Decades of the Finest Fiction
Press release Under embargo until 6.30pm, Saturday 26 May 2018 Golden Man Booker Prize shortlist Celebrating five decades of the finest fiction www.themanbookerprize.com| #ManBooker50 The shortlist for the Golden Man Booker Prize was announced today (Saturday 26 May) during a reception at the Hay Festival. This special one-off award for Man Booker Prize’s 50th anniversary celebrations will crown the best work of fiction from the last five decades of the prize. All 51 previous winners were considered by a panel of five specially appointed judges, each of whom was asked to read the winning novels from one decade of the prize’s history. We can now reveal that that the ‘Golden Five’ – the books thought to have best stood the test of time – are: In a Free State by V. S. Naipaul; Moon Tiger by Penelope Lively; The English Patient by Michael Ondaatje; Wolf Hall by Hilary Mantel; and Lincoln in the Bardo by George Saunders. Judge Year Title Author Country Publisher of win Robert 1971 In a Free V. S. Naipaul UK Picador McCrum State Lemn Sissay 1987 Moon Penelope Lively UK Penguin Tiger Kamila 1992 The Michael Canada Bloomsbury Shamsie English Ondaatje Patient Simon Mayo 2009 Wolf Hall Hilary Mantel UK Fourth Estate Hollie 2017 Lincoln George USA Bloomsbury McNish in the Saunders Bardo Key dates 26 May to 25 June Readers are now invited to have their say on which book is their favourite from this shortlist. The month-long public vote on the Man Booker Prize website will close on 25 June. -
JOURNEY INTO FEAR a Lost Eric Ambler Story © Glenn Mosley, 2005
JOURNEY INTO FEAR A lost Eric Ambler story © Glenn Mosley, 2005 By Glenn A. Mosley Director of Broadcasting School of Journalism and Mass Media University of Idaho A reviewer of the work of suspense author Eric Ambler once wrote that one of the keys to Ambler’s popularity with the public was his unique ability to use regular, everyday people in unusual situations. “The amateur as protagonist,” Ronald Ambrosetti wrote in “Dimensions of Detective Fiction,” “succeeds for Ambler by reducing all of the angst of international intrigue to a very personal level…Ambler gets the edge on suspense by making his spy- detective an average person—the reader identifies easily.” It was this very technique that Ambler was to employ in a largely forgotten story of his, though the title of the story may sound familiar. It was called “Journey Into Fear.” It is not, however, the famous thriller written by Ambler in the early 1940s and adapted by Orson Welles into a memorable film (another film version was also subsequently produced in 1974). This “Journey Into Fear” was a pilot for a proposed television series developed by Ambler and producer William Dozier in 1965, targeted for the 1966-67 season on NBC. However, the proposed series, to star film actor Jeffrey Hunter, did not sell, and has collected dust in film vaults ever since. Of course, Eric Ambler was a renowned novelist when he and Dozier began to develop the program in the summer of 1965, but he was well- acquainted with film and television, as well. Many of Ambler’s most famous novels had already been written by this time, including “Journey Into Fear,” “The Dark Frontier,” “Background to Danger,” and “Epitaph for a Spy.” All of these had been written prior to the outbreak of World War II. -
IN Ronald J. Ambrosetti a Dissertation Submitted to the Graduate School
A STUDY OP THE SPY GENRE IN RECENT POPULAR LITERATURE Ronald J. Ambrosetti A Dissertation Submitted to the Graduate School of Bowling Green State University In partial fulfillment of the requirements for the degree of DOCTOR OP PHILOSOPHY August 1973 11 ABSTRACT The literature of espionage has roots which can be traced as far back as tales in the Old Test ament. However, the secret agent and the spy genre remained waiting in the wings of the popular stage until well into the twentieth century before finally attracting a wide audience. This dissertation analyzed the spy genre as it reflected the era of the Cold War. The Damoclean Sword of the mid-twentieth century was truly the bleak vision of a world devastated by nuclear pro liferation. Both Western and Communist "blocs" strove lustily in the pursuit of the ultimate push-button weapons. What passed as a balance of power, which allegedly forged a détente in the hostilities, was in effect a reign of a balance of terror. For every technological advance on one side, the other side countered. And into this complex arena of transis tors and rocket fuels strode the secret agent. Just as the detective was able to calculate the design of a clock-work universe, the spy, armed with the modern gadgetry of espionage and clothed in the accoutrements of the organization man as hero, challenged a world of conflicting organizations, ideologies and technologies. On a microcosmic scale of literary criticism, this study traced the spy genre’s accurate reflection of the macrocosmic pattern of Northrop Frye’s continuum of fictional modes: the initial force of verisimili tude was generated by Eric Ambler’s early realism; the movement toward myth in the technological romance of Ian Fleming; the tragic high-mimesis of John Le Carre' and the subsequent devolution to low-mimesis in the spoof; and the final return to myth in religious affir mation and symbolism. -
Claire M. Tylee
EnterText 3.2 CLAIRE M. TYLEE Issues of Racial Masquerade: Jewish Assimilation to Englishness in Bernice Rubens’ Mate in Three Bernice Rubens commenced her long career of virtuoso, prize-winning works in 1960. They range across a variety of genres including thrillers, historical novels and social comedies as well as the family saga, and the success of several was increased by their adaptation to film or television.1 Rubens is one of Britain’s best-recognised Jewish authors, and although some of her novels have no Jewish characters at all, the first four were firmly anchored in Jewish families. They culminated in The Elected Member, which won the Booker Prize in 1969. The sardonic humour of Rubens’ vision joyfully embraces the gothic and the surreal, delving into taboo topics such as cross-dressing, incest, rape and murder, with a gallery of monstrous mothers and eccentric bachelors. This would seem to place her alongside writers such as Beryl Bainbridge in a robustly comic tradition stemming from Dickens. However, I want to suggest she has also contributed to the Woman’s Novel, the more genteel tradition of Elizabeth Bowen, Rosamund Lehman and Elizabeth Taylor. This was a genre first identified by Nicola Beauman in 1983 with her study of books by women written between 1914 and 1939. She defined it as consisting of novels that are not concerned with adventure or dramatic action, but with “the steadfast dailiness” of (domestic) life. Olga Kenyon and Clare Hanson have extended our understanding of this “fiction, written mainly Tylee: Racial Masquerade in Rubens’ Mate in Three 76 EnterText 3.2 by women, with women readers in mind” beyond World War II, as including books by such writers as Margaret Drabble, Fay Weldon and Anita Brookner.2 Rubens has followed her Jewish predecessor, Betty Miller, in an attempt to politicise the genre and use it critically.