DOCSLIB.ORG

Literary Miscellany

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Literary Miscellany Literary Miscellany Chiefly Recent Acquisitions. Catalogue 316 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering, and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inventory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. ________________________________________________________________ We invite you to visit our web site www.williamreesecompany.com where over thirty-five thousand items from our inventory are searchable and may be ordered directly via a secure server. Images associated with many items from this catalogue are also posted on our web site, and significant new acquisitions are posted there long before they appear on any of the collective databases. Those wishing to receive e-mail notification of the posting of new catalogues and lists to our website may request same by forwarding expressions of interest to [email protected] ___________________________________________________________________ William Reese Company 409 Temple Street New Haven, CT. 06511 USA Phone: 203.789.8081 Fax: 203.865.7653 e-mail: [email protected] Members ABAA and ILAB 1. Agee, James: “NOA NOA” DREHBUCH VON .... [Np. nd]. [1],163 leaves. Quarto. Carbon typescript, on rectos only, of onionskin stock. Bradbound in script binder with typed label. Binder a bit tanned at edges, with a bit of loss to the bottom edge of the label, otherwise very good. A translation into German (translator unidentified) of Agee’s unproduced original screenplay about the life of Gauguin. Accompanied by an undated draft, in photocopy, of the collabora- tive revised draft of the original by Agee and Charles O’Neal (outer leaves somewhat foxed) with the stamp of Reece Halsey Agency. $185. 2. Aldrich, Thomas Bailey: MERCEDES A DRAMA IN TWO ACTS AS PERFORMED AT PALMER’S THEATRE Boston & New York: Houghton, Mifflin and Company, The Riverside Press, Cambridge, 1894. Gilt decorated blue cloth, t.e.g. Spine darkened and a little frayed at extremities, short tear and crease to front free endsheet, else good. With Richard W. Gilder’s tiny book label. Revised edition, originally published in Mercedes, And Other Lyrics (1884). A decent as- sociation copy, inscribed by the author on the front blank: “Mr. R.W. Gilder, With the kindest regards.” The recipient, Richard Watson Gilder (1844-1909) was both a poet, and editor- in-chief of the Century Monthly Magazine. BAL 369. $250. Important Variant Text 3. Allen, Woody: DON’T DRINK THE WATER. New York. [1966]. [1],51,32,38 leaves (foli- ated in act/scene sequence). Quarto. Mimeographed typescript, printed on rectos only. Boltbound in stiff Hart Stenographic Bureau gilt-lettered wrappers. Upper wrapper heavily creased, particularly across the lower fore-corner, relevant notations throughout (see below), otherwise very good. A production script for Woody Allen’s first Broadway play, preceding, and the basis for, his first book publication a year later. This copy has frequent annotations throughout correspond- ing to the character ‘Warren’ (later revised to ‘Walter’) Hollander, who was played by Lou Jacobi in the first New York run, directed by Stanley Prager, at the Morosco Theatre, 17 November 1966 – 20 January 1968. Laid into this copy is a somewhat tattered Western Union telegram from Woody Allen to Jacobi, dated 17 November 1966 (the date of the opening), stating simply “You will always be the world’s funniest human.” As was evidenced by mate- rial attending another copy of an early production draft of this play sold by this firm in 2003, between the Philadelphia and Boston previews, and the Broadway run, the play underwent considerable revision. According to Tom Foral, who was cast in the role of Mr. Chambers for the Philadelphia and Boston runs, and for the first performances on Broadway: “Before opening on Broadway at The Morosco Theatre ...eleven more of us were given two weeks notice. We opened AND WERE REVIEWED. Then the unfortunate eleven left the company ...[then a] scaled down version of the play ran for two years. Neither the reviewers nor the public was ever aware that the show running was not the show that had been reviewed....” This script collates quite closely to the unrevised state of that early script (though we no longer have access to it for precise textual comparison), and is at very wide variance from the final state of the text as printed in the Samuel French acting edition currently in print (a copy is included for comparison). An important state of the text of the first produced/ published play by the brilliant film-maker, humorist and playwright. It was adapted to film in 1969 (without Allen’s participation); Allen then directed his own adaptation as a made-for- television film in 1994. $1750. 4. Allen, Woody [sourcework & screenwriter]: “PLAY IT AGAIN, SAM” SCREENPLAY BY ...BASED ON A PLAY BY.... [Los Angeles]: Paramount Pictures / APJAC Productions, nd. but no earlier than 27 September 1971]. [1],120 leaves. Quarto. Mechanically reproduced type- script, printed on rectos only of white, salmon, and green stock. Bradbound in printed studio wrappers. Ink name on upper wrapper, a few notes on title and scattered in text; very good. A “revised shooting script” of Allen’s own film adaptation of his 1969 play. Charles Grodin had written at least one draft of an earlier adaptation for the same production company. This copy includes dated revises on colored stock spanning 20 – 27 September. The film was released in May 1972, was directed by Herbert Ross, and starred Allen, Diane Keaton, Tony Roberts, Jerry Lacy, Viva, Joy Bang, et al. This copy bears the ink name “Jerry Lacy” on the upper wrapper (he played Bogart in the film) and contact info for Joy Bang and other annotations in the same hand. Actual pre-production scripts by Allen or for films based on his source works tend to be rather uncommon, their circulation being largely confined to those actually involved directly in production. $1500. 5. [Almanac – French]: ÉTRENNES MIGNONES, CURIEUSES ET UTILES, AVEC PLUSSIEURS AUGMENTATIONS & CORREC- TIONS, POUR L’ANNEE MIL SEPT CENT SOIXANTE-QUATORZE. Paris: Chez Claude-Jacques-Charles & Pierre-Francois Durand, 1774. [108]pp. plus two folding maps. 32mo. Contemporary red French morocco, heavily decorated in gilt, a.e.g. Trivial foxing to endleaves, light tanning and minimal fraying to extended edges of folding maps, otherwise a fine copy. First edition of this almanac, beautifully bound, from the Weston Library of the Earls of Bradford, with the bookplate. Many of the text leaves are interleaved with elegantly engraved tables, with decorative margins, for recording profits and losses. $750. 6. [American Theatre Wing]: [Delano, Harvey (ed)]: AMERICAN THEATRE WING STAGE DOOR CANTEEN OF WASHINGTON ORGANIZATION REGULATIONS FIRE AND AIR RAID RULES INSTRUCTIONS. [Np]: American Theatre Wing War Service, Inc., [nd. but ca. 1942]. 56pp. Quarto. Stiff printed wrappers. Light smudging to wrappers, but near fine. First edition. A comprehensive manual for the organization and running of the Washington DC version of the Canteen, adapted from the manual for the NYC Canteen by Harvey Delano. The Stage Door Canteen was started and directed by The American Theatre Wing at the beginning of WWII. Its purpose was to provide a safe, free place where soldiers, Marines, sailors and merchant seamen could come, relax, socialize and dance with young women volunteers. Often entertainment was provided by top entertainers of the day who volunteered their services. Canteens were located in New York, Boston, Washington DC, Philadelphia, Cleveland, San Francisco and other major cities in the U.S., and toward the end of the war in London and Paris. The Canteens were closed shortly after the war ended, but in the three and a half years of their operation, the Stage Door Canteens had an enormous influence on popular culture, inspiring a weekly radio show on the Columbia Network and a 1943 motion picture, both called “Stage Door Canteen” and produced in association with the American Theatre Wing. These, along with Irving Berlin’s hugely popular war song “I Left My Heart at the Stage Door Canteen,” help the Canteen’s legacy live on today. According to several accounts, all of the records for all of the Canteens were stored in a garage which subse- quently burned to the ground. As a consequence, material such as this item take on extra significance. No copies are recorded in OCLC, although there is a copy at Yale and a copy now in British Canteen archive in the UK.
Load more

Recommended publications
  • Inserting Hans Bellmer's the Doll Into the History of Pornography
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2020 Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography Alexandra M. Varga Follow this and additional works at: https://scholarship.claremont.edu/scripps_theses Recommended Citation Varga, Alexandra M., "Softcore Surrealism: Inserting Hans Bellmer's The Doll into the History of Pornography" (2020). Scripps Senior Theses. 1566. https://scholarship.claremont.edu/scripps_theses/1566 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 SOFTCORE SURREALISM: INSERTING HANS BELLMER’S THE DOLL INTO THE HISTORY OF PORNOGRAPHY, 2020 By ALEXANDRA M. VARGA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR ARTS FIRST READER: PROFESSOR MACNAUGHTON, SCRIPPS COLLEGE SECOND READER: PROFESSOR NAKAUE, SCRIPPS COLLEGE MAY 4TH 2020 2 Contents Acknowledgments. 3 Introduction: Finding The Doll. 4 Critical Reception: Who Has Explored The Doll?. 10 Chapter 1: Construction of the Doll and Creation of the Book. 22 Chapter 2: Publication in Germany and France. 37 Conclusion: Too Real For Comfort. 51 Bibliography. 53 Figures: Die Puppe Sequence, 1934. 56 Figures: La Poupée Sequence, 1936. 64 Figures: 19th and 20th Century Pornography. 71 3 Acknowledgments This thesis could not have been written without the support of my thesis readers, Professors Mary MacNaughton and Melanie Nakaue. I would like to thank them for their unwavering support. Their guidance gave me the confidence to pursue such an eccentric topic.
    [Show full text]
  • Pierre Klossowski: Works in English and Translations Compiled by Rainer J
    Bibliography Pierre Klossowski: Works in English and Translations compiled by Rainer J. Hanshe FICTION Roberte Ce Soir – and – The Revocation of the Edict of Nantes, tr. by Austryn Wainhouse (New York: Dalkey Archive Press, 2002 [1950 and 1959]). The Baphomet, tr. by Stephen Sartarelli, Sophie Hawkes (New York: Marsilio Publishers, 1998 [1965]). Introduction by Michel Foucault. Diana at Her Bath; The Women of Rome, tr. by Stephen Sartarelli, Sophie Hawkes (New York: Marsilio Publishers, 1998 [1956 and 1968]). L’ adolescent immortel (Paris: Gallimard, 2001).* Agonist 78 Pierre Klossowski Biblography Pierre Klossowski Bibliography Le Mage du Nord (Montpellier: Fata Morgana, 1988).* Les derniers travaux de Gulliver (Paris: Fata Morgana, 1987).* Pierre Klossowski Biblography La Ressemblance (Marseille: André Dimanche, 1984).* La Monnaie vivante (Paris: Éric Losfield, 1970).* Pierre Klossowski Biblography Le Souffleur ou le théâtre de société (Paris: Jean-Jacques Pauvert, 1960).* Pierre Klossowski Biblography La Vocation suspendue (Paris: Gallimard, 1950).* PHILOSOPHY & CRITICISM Such a Deathly Desire, tr. by Russell Ford (New York: SUNY Press, 2007). Écrits d’un monomane: Essais 1933-1939 (Paris: Gallimard, 2001).* Tableaux vivants: Essais critiques 1936-1983 (Paris: Gallimard, 2001).* “Tragedy” and “The Marquis de Sade and the Revolution” in Denis Hollier, ed., The College of Sociology (1937-39), tr. by Betsy Wing (Minneapolis: University of Minnesota Press, 1998). Nietzsche and the Vicious Circle, tr. by Daniel W. Smith (Chicago: University of Chicago Press, 1997). “Sade, or the philosopher-villain” in David B. Allison, Mark S. Roberts, Allen S. Weiss, Sade and the Narrative of Transgression (Cambridge: Cambridge University Press, 1995): 33-61. Sade My Neighbor, tr.
    [Show full text]
  • Unobtainium-Vol-1.Pdf
    Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more.
    [Show full text]
  • Tarlo Tucker.Pdf
    This is a repository copy of 'Off path, counter path’: contemporary walking collaborations in landscape, art and poetry. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/109131/ Version: Accepted Version Article: Tarlo, H and Tucker, J (2017) 'Off path, counter path’: contemporary walking collaborations in landscape, art and poetry. Critical Survey, 29 (1). pp. 105-132. ISSN 0011-1570 https://doi.org/10.3167/cs.2017.290107 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Harriet Tarlo and Judith Tucker ‘Off path, counter path’: contemporary walking collaborations in landscape, art and poetry Our title reflects our tendency as walkers and collaborators to wander off the established path through a series of negotiations and diversions. In this jointly-authored essay by a poet and an artist, we ask whether and how this companionable and artistic process might also be counter- cultural, as many anecdotal and theoretical enframings of walking practice throughout the centuries have suggested.
    [Show full text]
  • Roditi, Edouard (1910-1992) by John Mcfarland
    Roditi, Edouard (1910-1992) by John McFarland Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com Poet, translator, literary and art critic, and short story writer, Edouard Roditi was associated with most of the twentieth-century's avant-garde literary movements from Surrealism to post-modernism. For more than sixty years, he produced such an astonishing variety of smart, lively, and moving poetry and prose that nobody objected when he dubbed himself "The Pharaoh of Eclecticism." A member of several predominantly homosexual social circles, Roditi maintained friendships with literary and artistic figures ranging from Paul Bowles and Jean Cocteau to Paul Tchelitchew and Christian Dior. His art and literary criticism held artists and writers to the very highest standards and insisted that intense but uncritical infatuation with flashy new trends could end in disappointment and heartbreak. His Internationalist Birthright Roditi was born in Paris on June 6, 1910. He was the beneficiary of a remarkably rich confluence of heritages--Jewish, German, Italian, French, Spanish, and Greek--and was truly international, both American and European. His father, Oscar, an Italian born in Constantinople, had become a United States citizen after his father emigrated to America and gained citizenship. Although Oscar's father had left the family behind in Europe, all the family in Europe became citizens when he did by virtue of the citizenship statutes in force at that time. Roditi's mother, Violet, had an equally rich family history. She was born in France but became an English citizen in her youth. When she married Oscar, she too became a United States citizen.
    [Show full text]
  • Christopher Logue - Poems
    Classic Poetry Series Christopher Logue - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Christopher Logue(23 November 1926 – 2 December 2011) Christopher Logue, CBE, an English poet associated with the British Poetry Revival. <b>Life</b> Born in Portsmouth, Hampshire, and brought up in the Portsmouth area, he was the only child of middle-aged parents, John and Molly Logue, who married late. He attended Roman Catholic schools, including Prior Park College, before going to Portsmouth Grammar School. On call-up, he enlisted in the Black Watch, and was posted to Palestine. He was court-martialled in 1945 over a scheme to sell stolen pay books, and sentenced to 16 months imprisonment, served partly in Acre Prison. He lived in Paris from 1951 to 1956, and was a friend of Alexander Trocchi. In 1958 he joined the first Aldermaston march, organised by the Direct Action Committee Against Nuclear War. He was on the Committee of 100. He served a month in jail for refusing to be bound over not to continue with the celebrated 17 September 1961 Parliament Square sit-down. He told the Bow Street magistrate, "I came here to save your life. But, having heard what you have to say, I don't think the end justifies the means." In Drake Hall open prison he and fellow protesters were set to work - "Some wit allocated it" - demolishing a munitions factory. <b>Career</b> He was a playwright and screenwriter as well as a film actor. His screenplays were Savage Messiah and The End of Arthur's Marriage.
    [Show full text]
  • Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
    BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre.
    [Show full text]
  • Modernist Poetry
    GRAAT On-Line issue #8 August 2010 The unquiet boundary, or the footnote Auto-exegetic modes in (neo-)modernist poetry Lucie Boukalova University of Northern Iowa “It is generally supposed that where there is no QUOTATION, there will be found most originality. Our writers usually furnish their pages rapidly with the productions of their own soil: they run up a quickset hedge, or plant a poplar, and get trees and hedges of this fashion much faster than the former landlords procured their timber. The greater part of our writers, in consequence, have become so original, that no one cares to imitate them; and those who never quote, in return are seldom quoted!” Isaac Disraeli, Curiosities of Literature “I have been accused of wanting to make people read all the classics; which is not so. I have been accused of wishing to provide a „portable substitute for the British Museum,‟ which I would do, like a shot, were it possible. It isn‟t.” Ezra Pound, How to Read Clearly unhappy with the course of the scholarly treatment of his notes to The Waste Land, T.S. Eliot revisits the exegetical site three decades after the modernist annus mirabilis in “The Frontiers of Criticism” (1956). Even though he acknowledges that he is not wholly “guiltless of having led critics into temptation” by his annotation, and even though he regrets “having sent so many enquirers off on a wild goose chase,”1 the poet does not publicly condemn his previous method. Retracing and reinforcing the frontiers of a profitable critical enterprise, Eliot calls for a more immediate, and intuitive interaction between the poetic lines and their “paratext.”2 115 However, thus still defending the aesthetic value of his referential apparatus, Eliot seems to have lost faith in the continuity of such practice in the contemporary creative and critical climate.
    [Show full text]
  • Boxoffice Barometer (March 6, 1961)
    MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
    [Show full text]
  • Fine Printing & Small Presses A
    Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman.
    [Show full text]
  • The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
    Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A.
    [Show full text]