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Note to Users
NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received 88-91 This reproduction is the best copy available. UMI INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessinglUMI the World’s Information since 1938 300 North Zeeb Road, Ann Arbor, Mi 48106-1346 USA Order Number 8820263 Leigh Brackett: American science fiction writer—her life and work Carr, John Leonard, Ph.D. -
Top Ten Most Influential People
Top Ten Most Influential People Samantha Wall Ten - Mansa Musa I ● Ruler of the Mali Empire (1312 - 1337) ● Controlled territories rich in copper and gold ● Brought back scholars and architects from his pilgrimage to Mecca who built mosque and universities ● Army around 100,000 men helped him double the territory of Mali (second in size to the Mongol Empire at that time) Mansa Musa is ten because I wasn’t convinced that he did much to influence those after him. Most only know him for being the richest man and giving gold to the poor. Nine - Leonardo Da Vinci (1452-1519) ● Italian polymath of the Renaissance ● Painted the Mona Lisa and The Last Supper ● Had groundbreaking studies on optics and perspective ● Fused science and art to create works that become part of humanity’s story ● He designed helicopter screw and things for flying machines Da Vinci is ninth because his work is still being studied today. Whether it‘s his paintings or his machine designs. He’s one of the most known painters of his time. Eight - Joan of Arc (1412-1431) ● Peasant girl living in medieval France ● Believed that God had chosen her to lead France to victory in its long-running war with England ● Joan was captured by Anglo-Burgundian forces, tried for witchcraft and heresy and burned at the stake ● Symbol of French unity and nationalism ● Known as the Maid of Orléans Joan of Arc is eight because she helped win the Hundred Years War. She was able to accomplish so much even though she was only nineteen. -
Reflection 56.2 Reflection 56.2 Spring 2015
Reflection 56.2 Reflection 56.2 Reflection Spring 2015 Reflection 56.2 Reflection 56.1 Copyright © 2014 Reflection, Gonzaga University All rights reserved. No portion of this magazine may be copied or in any ways reproduced without written consent of the editor and Gonzaga University. Views and opinions in Reflection are those of the individuals and do not necessarily represent the views of Gonzaga University. Reflection submissions are evaluated and selected anonymously. Reflection staff would like to thank everyone who participated in the literary and visual arts community on campus by submitting to the journal. Joanne Shiosaki and Jeffrey Dodd deserve our praise for facilitating an instructive and posiitive experience. Reflection 56.1 Editor // Katherine Charters Assistant Editor // Natalie Ochoa Editorial Assistants // Kaitlyn Anson, Rachel Clark, Zack Rosse, Sarah Taylor Poetry // Maria Mills Fiction // Kellie Malone Visual Art // Mariah Chavez Photography // Emily Luse Graphic Design // Matt Friedman Advisor // Jeff Dodd We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out. Ray Bradbury TABLE OF CONTENTS Editorial Statement 1 Flash Fiction Contest Winners // David Boose 2 Vocation // Luke Janicki 3 Avoir l’air // Katie Schmarr 4 Reflection: Editing the Journal at its Inception // Monda Sherick Van Hollebecke 6 Chokecherries on Shepherd’s Butte // Monda Sherick Van Hollebecke 10 The Shark That Swam Through the Forest // Kellie Malone 11 Lazarus // Natalie -
The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J. -
Program Book
GREETINGS to The 2 1st WO RETD SCIENCE E I C T I O KT C CONVENTION Th.e 2 1st 'WOFiLTD SCIENCE FICTION C ONVENTION VPtz shinqton, <DC 31 August 1 September 1 q e 3 2 September 'y am Cammittee: CRAFTY CHAIRMAN .................................... George Scithers TACHYLEGIC TREASURER ....................................... Bill Evans DESPOTIC DIPLOMAT .......................................... Bob Pavlat EXTEMPORANIZING EDITOR .................................... Dick Eney FLAMBOYANT FOLIATOR .................................... Chick Derry RECRUDESCENT RELIC ....................................... Joe Sarno MEMORIALIST of MISDEEDS.................................... Bob Madle TARTAREAN TABULIST .................................... Bill Osten PUBLICISTEAN PHOTOGRAPHIST .............................. Tom Haughey _A.n Appreciation of Murray £ein$ter It was in the year 1919 or '20, when I was fifteen and every fine fantasy story I read was an electric experience, that I read "The Mad Planet". It was a terrific nightmare vision and instantly I added the name of Murray Leinster to the list that already held A. Merritt, Edgar Rice Burroughs, and a few others. I have been reading and admiring his stories ever since, and I hope they go on forever. Mr. Leinster is a professional, in the finest sense of the word, meaning that he has the skills of his profession at his fingertips. And his profession is that of a master story-teller. His stories take hold of you from the first page and build with a sheer craftmanship and econ omy of effort that are the envy and despair of anyone who has ever tried to do the same thing. In science-fiction, imagination is even more important than writ ing skill, and the boldness of his imaginative concepts is one big rea son why Murray Leinster’s name has been up there in the bright lights for so long. -
Science Fiction List Literature 1
Science Fiction List Literature 1. “The Unparalleled Adventure of One Hans Pfaall,” Edgar Allan Poe (1835, US, short story) 2. Looking Backward, Edward Bellamy (1888, US, novel) 3. A Princess of Mars, Edgar Rice Burroughs (1912, US, novel) 4. Herland, Charlotte Perkins Gilman (1915, US, novel) 5. “The Comet,” W.E.B. Du Bois (1920, US, short story) 6. Fahrenheit 451, Ray Bradbury (1951, US, novel) 7. Limbo, Bernard Wolfe (1952, US, novel) 8. The Stars My Destination, Alfred Bester (1956, US, novel) 9. Venus Plus X, Theodore Sturgeon (1960, US, novel) 10. Do Androids Dream of Electric Sheep?, Philip K. Dick (1968, US, novel) 11. The Left Hand of Darkness, Ursula K. Le Guin (1969, US, novel) 12. The Female Man, Joanna Russ (1975, US, novel) 13. “The Screwfly Solution,” “The Girl Who Was Plugged In,” “The Women Men Don’t See,” “Houston, Houston Do You Read?”, James Tiptree Jr./Alice Sheldon (1977, 1973, 1973, 1976, US, novelettes, novella) 14. Native Tongue, Suzette Haden Elgin (1984, US, novel) 15. Stars in My Pocket Like Grains of Sand, Samuel R. Delany (1984, US, novel) 16. Neuromancer, William Gibson (1984, US-Canada, novel) 17. The Handmaid’s Tale, Margaret Atwood (1985, Canada, novel) 18. The Gilda Stories, Jewelle L. Gómez (1991, US, novel; extended edition 2016) 19. Dawn, Octavia E. Butler (1987, US, novel); Parable of the Sower, Butler (1993, US, novel); Bloodchild and Other Stories, Butler (1995, US, short stories; extended edition 2005) 20. Red Spider, White Web, Misha Nogha/Misha (1990, US, novel) 21. The Rag Doll Plagues, Alejandro Morales (1991, US, novel) 22. -
Zanesville & Western: a Creative Dissertation
ZANESVILLE & WESTERN: A CREATIVE DISSERTATION by Mark Allen Jenkins APPROVED BY SUPERVISORY COMMITTEE: _________________________________________ Dr. Frederick Turner, Co-Chair _________________________________________ Dr. Charles Hatfield, Co-Chair _________________________________________ Dr. Matt Bondurant _________________________________________ Dr. Nils Roemer Copyright 2017 Mark Allen Jenkins All Rights Reserved ZANESVILLE & WESTERN A CREATIVE DISSERTATION by MARK ALLEN JENKINS, BA, MFA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2017 ACKNOWLEDGMENTS There are several significant people to thank in the development, creation, and refining of this dissertation, Zanesville & Western: A Creative Dissertation. Dr. Charles Hatfield supported me throughout the dissertation. His expertise on theoretical framing helped me develop an approach to my topic through a range of texts and disciplines. Dr. Frederick Turner encouraged me to continue and develop narrative elements in my poetry and took a particular interest when I began writing poems about southeastern Ohio. He encouraged me to get to the essence of specific poems through multiple drafts. Dr. Rainer Schulte, Dr. Richard Brettell, and Dr. Nils Roemer were my introduction to The University of Texas at Dallas. Dr. Schulte’s “Interdisciplinary Approaches to the Arts and Humanities” highlighted many of the strengths of our program, and “Crafting Poetry” provided useful insight into my own poetry as well as a thorough introduction international poetry. Dr. Brettell’s “Art and Anarchy” course expounded the idea that poets could be political in their lives and work, both overtly and implicitly. -
The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
Comparative Image Analysis in Visual Arts and Art Education
EURASIA Journal of Mathematics, Science and Technology Education ISSN: 1305-8223 (online) 1305-8215 (print) OPEN ACCESS 2017 13(11):7329-7338 DOI: 10.12973/ejmste/79605 Comparative Image Analysis in Visual Arts and Art Education Naciye Derin Isikoren 1*, Faruk Kalkan 1 1 European University of Lefke, N. CYPRUS Received 19 June 2017 ▪ Revised 15 September 2017 ▪ Accepted 8 October 2017 ABSTRACT In visual art education, researchers has to be aware that it is necessary to explore the position of an image, within the time period’s cultural, sociological, technological conditions that effect the image, in order to achieve a full understanding of that very image or visual composition. In that sense, setting a sample study that mirrors “how and under which effects a sign changes throughout time?” is worth investigating. The aim of this study is to explore the traces of symbolic existence of peripheral circumstances in a visual composition and as well as reflect that the composition is structured by these circumstances. In that sense, a brief review of the history of woman image has been chosen to set a sample study to search for the above mentioned dynamic. In order to trace the links in between meaning making and meaning reading processes, with the basic assumption that any sign’s meaning differs according to its position among surrounding signs “woman image” offers continuity of existence throughout history which constitutes the bases for a comparative research. Continuity, in comparative analysis of an image may constitute a solid base in order to increase the level of cognation of students in the field of visual arts. -
Key to the People and Art in Samuel F. B. Morse's Gallery of the Louvre
15 21 26 2 13 4 8 32 35 22 5 16 27 14 33 1 9 6 23 17 28 34 3 36 7 10 24 18 29 39 C 19 31 11 12 G 20 25 30 38 37 40 D A F E H B Key to the People and Art in Samuel F. B. Morse’s Gallery of the Louvre In an effort to educate his American audience, Samuel Morse published Descriptive Catalogue of the Pictures. Thirty-seven in Number, from the Most Celebrated Masters, Copied into the “Gallery of the Louvre” (New York, 1833). The updated version of Morse’s key to the pictures presented here reflects current scholarship. Although Morse never identified the people represented in his painting, this key includes the possible identities of some of them. Exiting the gallery are a woman and little girl dressed in provincial costumes, suggesting the broad appeal of the Louvre and the educational benefits it afforded. PEOPLE 19. Paolo Caliari, known as Veronese (1528–1588, Italian), Christ Carrying A. Samuel F. B. Morse the Cross B. Susan Walker Morse, daughter of Morse 20. Leonardo da Vinci (1452–1519, Italian), Mona Lisa C. James Fenimore Cooper, author and friend of Morse 21. Antonio Allegri, known as Correggio (c. 1489?–1534, Italian), Mystic D. Susan DeLancy Fenimore Cooper Marriage of St. Catherine of Alexandria E. Susan Fenimore Cooper, daughter of James and Susan DeLancy 22. Peter Paul Rubens (1577–1640, Flemish), Lot and His Family Fleeing Fenimore Cooper Sodom F. Richard W. Habersham, artist and Morse’s roommate in Paris 23. -
The G Ods of M Ars Edgar Rice B Urroughs. the Gods of Mars the G
Picture here The Gods . The Gods of Mars By Edgar Rice Burroughs (1875-1950) The Gods of Mars is a 1918 Edgar Rice Burroughs science fiction novel, the second of his famous Barsoom series. It can be said that ofMars the novel set the tone for much science fiction to come. Its influence can clearly be seen in franchises such as Star Trek and Farscape. While Burroughs no doubt borrowed liberally from the pulp fiction of his day, particularly westerns and swashbuckling Edgar Burroughs Rice tales, the pacing and themes set the tone for the soft science fiction genre. The protagonist, John Carter, with his proficiency in hand-to-hand combat and flirtations with beautiful alien women, could be said to have set the mold for later influential icons like Captain James T. Kirk and James Bond. At the end of the first book, A Princess of Mars, John Carter is unwillingly transported back to Earth. The Gods of Mars begins with his arrival back on Barsoom (Mars) after a ten year hiatus, separated from his wife Dejah Thoris, his unborn child, and the Red Martian people of the nation of Helium, whom he has adopted as his own. Unfortunately, John Carter materializes in Edgar Burroughs Rice the one place on Barsoom from which nobody is allowed to depart: the Valley Dor, which is the Barsoomian heaven. (Summary from wikipedia) Read by JD Weber. Total Running Time: 07:41:49 ofMars This recording is in the public domain and may be reproduced, distributed, or modified without permission. For more information or to volunteer, visit librivox.org. -
Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs James Biggs Claremont Graduate University, [email protected]
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 3 | Issue 1 Article 2 2013 Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs James Biggs Claremont Graduate University, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Recommended Citation Biggs, James (2013) "Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 3: Iss. 1, Article 2. Available at: http://scholarship.claremont.edu/lux/vol3/iss1/2 Biggs: Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs Biggs 1 Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs James Biggs Claremont Graduate University School of Arts and Humanities - History Abstract Edgar Rice Burroughs rendered a particular construction of womanhood as a remedy for national degeneration and neurasthenia. Progressive-era Americans like Burroughs wondered whether the developmental forces that shaped industrial society might also threaten the character and institutions upon which they believed American society and civilization functioned. Middle-class American observers worried that the character traits responsible for the rise of American greatness were undermined by that very success. In particular, they thought the demands of urban life resulted in neurasthenia, the loss of “nervous energy.” Burroughs employed the powerfully symbolic Pocahontas narrative to construct a vision of womanhood that offered the possibility of redeeming a degenerate and neurasthenic civilization. Burroughs’s construction of womanhood shares much with the traditional ideology of domesticity, yet at the same time challenged Progressive notions of femininity.