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For Children 1
1 500BOOKS FOR CHILDREN 1 NORA E. BEUST Specialist in School Libraries /114.4 14. or, . 11 4 -es . - ,0 I . A PW oh Bulletin 1939, No. 11 It t<1 maim STATICS DEPARTMENT OPTILEINTERIOR,HaroldL. Ickes,Seeman MIMIOFIDUCATION, J. W. Studebaker,Ceuradosiesar ailed States GarmasheetPrintingMks Wesklegtsa 44t re Oa tif fla 011111010111,stOfDmINIIN, WasiOntra,D. A hieslasea* . ,': i ....- ,..- i: : ... 4.1 :. - '' , .t t^ bayV . - - .4,)' 4: I r * $'` :f . o W...1*- 4"4'-' ' .''... r . 4l 4.47. .5 14.11$f 4'.'t :..!`'.: t I ' . r :" ' gi ' ,k, i 4't, 'I: - 4 , ' '... ..!1' 'et i; s :- i . 7.% t . t .. nzs 1 - 7,...., k trd, '; "'" ". , e" e 7 4 , J t, RAY, Ars "274LV,INi .th Wei LW" lb 1 s . CONTENTS Page FOREWORD_ 01, 411. v bi PRIPIACZ _ SECTIONI (Grades 1-3)__ 6 SECTIONII (Grades 4-6) ,. .......... - - - ........___ 20 , SECTIONIII (Grades 7-8) 38 NEWBRRTMEI3AL BOOKS _ 53 CALDICOTI' AWARDS__IMP MO OW as I ND 55 ILLUSTRATORS 59 PuBusaxas. 66 k hoax_ 110 am, airo 69 vt, In I 1 *0' e. 7t. ' A. " -.Or' ' ,s a __,* '--. .4- a .I, ,,,e vala. a,ra ., . * * i f, Or . N, :' * 10 ara.." .1,-*-vot. 1 v.irjrr; ,- ''4" 1,4-*vf.1.4 5 at: IC .._." 1. 1 ''''', , -4` -. % ... t p - _., J:, tit .3,..7" t. '-,,,....,....;lf,- riit, t,..12 ..PFle-... re .0* - .).... 1- . - ' .i. 41; , '9.14 a Onegift thefairiesgave me.(Three Theycommonlybestowedof yore.) Thelove ofbooks,the goldenkey Thatopenstheenchanteddoor. IOW ANDREW LANG. FromBallade oftheBookworm. Iv- - - 4. -'k,' 7 t45.11.. et* 0. -
Peasant Barn 2 Hip No. 1
Consigned by Adena Springs Barn Hip No. 2 Peasant 1 Vice Regent Deputy Minister ................ Mint Copy Awesome Again ................ Blushing Groom (FR) Peasant Primal Force ..................... Chestnut Colt; Prime Prospect May 28, 2008 Hold Your Peace Meadowlake...................... Suspicious Native Abby Girl .......................... (1997) Explodent Like an Explosion ............. Prove It Darling By AWESOME AGAIN (1994). Classic winner of $4,374,590, Breeders' Cup Classic [G1], etc. Sire of 9 crops of racing age, 678 foals, 388 starters, 34 black-type winners, 270 winners of 919 races and earning $42,101,581, including champions Ginger Punch ($3,065,603, Breeders' Cup Distaff [G1] (MTH, $1,220,400), etc.), Ghostzapper ($3,446,120, Breeders' Cup Classic [G1] (LS, $2,080,000)-ntr, etc.), and of Round Pond [G1] ($1,998,- 700), Toccet [G1] ($931,387), Spun Sugar [G1] ($929,171), Wilko [G1]. 1st dam ABBY GIRL, by Meadowlake. 3 wins at 2 and 3, $209,580, Santa Paula S. [L] (SA, $47,700), 2nd Oak Leaf S. [G1], Moccasin S. [L] (HOL, $20,000), 3rd Hollywood Starlet S. [G1]. Dam of 5 other registered foals, 5 of rac- ing age, 4 to race, 2 winners, including-- Ron Bob and Dave (g. by Touch Gold). 3 wins at 4, placed at 5, 2009, $124,880. Comical (c. by Ghostzapper). Placed in 1 start at 3, 2010, $8,200. 2nd dam LIKE AN EXPLOSION, by Explodent. Unplaced in 1 start. Sister to EXPLO- SIVE DARLING. Dam of 5 winners, including-- ABBY GIRL (f. by Meadowlake). Black-type winner, above. Laika. Sent to Argentina. Dam of 4 foals, 2 to race, including-- LINGOTE DE ORO (c. -
Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’S Plate 3RD Belmont Stakes
Northern Dancer 90th May 2, 1964 THE WINNER’S PEDIGREE AND CAREER HIGHLIGHTS Pharos Nearco Nogara Nearctic *Lady Angela Hyperion NORTHERN DANCER Sister Sarah Polynesian Bay Colt Native Dancer Geisha Natalma Almahmoud *Mahmoud Arbitrator YEAR AGE STS. 1ST 2ND 3RD EARNINGS 1963 2 9 7 2 0 $ 90,635 1964 3 9 7 0 2 $490,012 TOTALS 18 14 2 2 $580,647 At 2 Years WON Summer Stakes, Coronation Futurity, Carleton Stakes, Remsen Stakes 2ND Vandal Stakes, Cup and Saucer Stakes At 3 Years WON Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’s Plate 3RD Belmont Stakes Horse Eq. Wt. PP 1/4 1/2 3/4 MILE STR. FIN. Jockey Owner Odds To $1 Northern Dancer b 126 7 7 2-1/2 6 hd 6 2 1 hd 1 2 1 nk W. Hartack Windfields Farm 3.40 Hill Rise 126 11 6 1-1/2 7 2-1/2 8 hd 4 hd 2 1-1/2 2 3-1/4 W. Shoemaker El Peco Ranch 1.40 The Scoundrel b 126 6 3 1/2 4 hd 3 1 2 1 3 2 3 no M. Ycaza R. C. Ellsworth 6.00 Roman Brother 126 12 9 2 9 1/2 9 2 6 2 4 1/2 4 nk W. Chambers Harbor View Farm 30.60 Quadrangle b 126 2 5 1 5 1-1/2 4 hd 5 1-1/2 5 1 5 3 R. Ussery Rokeby Stables 5.30 Mr. Brick 126 1 2 3 1 1/2 1 1/2 3 1 6 3 6 3/4 I. -
The Record of the Class
The 1943 EAX C O R D P6)**t\ "OHJ0WNNY,H0WY0U "ALL ^THINGS YOU ARE" can LovrU "TONlQHT,MY "AMAPOLA,MY PRETTY LITTLE POP PY" "BLUFS IN THFNIQHT" "I KNOW WHY AMD SO 00 YOU REMEMBER, "THEYC/UL ITTHf JFR5EY BOUNCE OMEBODY EISF STAKING MY PLACE ilNQLF Digitized by the Internet Archive in 2009 with funding from Lyrasis Members and Sloan Foundation http://www.archive.org/details/recordofclass1943have THE 1943 RECORD / voatch the waves and quiet walls Of willows in the setting sun And know as night in silence falls My day is done. I see the scarlet fading where The shadows sink to stir the breeze And greet the dark which waits me there With memories. Two ^~* FOREWORD The Class o! 1943 stands ai the doors <>l life, unique in the history of Haver- ford College. It is a sadly depleted group. Ol the 87 original members, almost one-quarter now serve their nation all over the world. Because ol the acceleration and the war. the RECORD has frozen llie (lass as it stood last April 25. Some of the men who appear in these pages are now in Libya, China, or even India. Others are in Tennessee and New Hampshire. Perhaps/more are with the A. E. F. in Britain and Iceland. Many members of '43 will never receive their diplomas. Some may never see their classmates again. The Class of '43 is disintegrated and disintegrating. We are a (lass united through memories alone. As far back as the fall ol 1911. the war began to pull us apart. -
Mean Streets: Death and Disfiguration in Hawks's Scarface
Mean Streets: Death and Disfiguration in Hawks's Scarface ASBJØRN GRØNSTAD Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces and bodies, only a series of abrupt, almost perfunctory liquidations seemingly devoid of the heat and passion that characterize the deaths of the spastic Lyle Gotch in The Wild Bunch or the anguished Mr. Orange, slowly bleeding to death, in Reservoir Dogs. Nonetheless, as Bernie Cook correctly points out, Scarface is the most violent of all the gangster films of the eatly 1930s cycle (1999: 545).' Hawks's camera desists from examining the anatomy of the punctured flesh and the extended convulsions of corporeality in transition. The film's approach, conforming to the period style of ptc-Bonnie and Clyde depictions of violence, is understated, euphemistic, in its attention to the particulars of what Mark Ledbetter sees as "narrative scarring" (1996: x). It would not be illegitimate to describe the form of violence in Scarface as discreet, were it not for the fact that appraisals of the aesthetics of violence are primarily a question of kinds, and not degrees. In Hawks's film, as we shall see, violence orchestrates the deep structure of the narrative logic, yielding an hysterical form of plotting that hovers between the impulse toward self- effacement and the desire to advance an ethics of emasculation. Scarface is a film in which violence completely takes over the narrative, becoming both its vehicle and its determination. -
NP 2013.Docx
LISTE INTERNATIONALE DES NOMS PROTÉGÉS (également disponible sur notre Site Internet : www.IFHAonline.org) INTERNATIONAL LIST OF PROTECTED NAMES (also available on our Web site : www.IFHAonline.org) Fédération Internationale des Autorités Hippiques de Courses au Galop International Federation of Horseracing Authorities 15/04/13 46 place Abel Gance, 92100 Boulogne, France Tel : + 33 1 49 10 20 15 ; Fax : + 33 1 47 61 93 32 E-mail : [email protected] Internet : www.IFHAonline.org La liste des Noms Protégés comprend les noms : The list of Protected Names includes the names of : F Avant 1996, des chevaux qui ont une renommée F Prior 1996, the horses who are internationally internationale, soit comme principaux renowned, either as main stallions and reproducteurs ou comme champions en courses broodmares or as champions in racing (flat or (en plat et en obstacles), jump) F de 1996 à 2004, des gagnants des neuf grandes F from 1996 to 2004, the winners of the nine épreuves internationales suivantes : following international races : Gran Premio Carlos Pellegrini, Grande Premio Brazil (Amérique du Sud/South America) Japan Cup, Melbourne Cup (Asie/Asia) Prix de l’Arc de Triomphe, King George VI and Queen Elizabeth Stakes, Queen Elizabeth II Stakes (Europe/Europa) Breeders’ Cup Classic, Breeders’ Cup Turf (Amérique du Nord/North America) F à partir de 2005, des gagnants des onze grandes F since 2005, the winners of the eleven famous épreuves internationales suivantes : following international races : Gran Premio Carlos Pellegrini, Grande Premio Brazil (Amérique du Sud/South America) Cox Plate (2005), Melbourne Cup (à partir de 2006 / from 2006 onwards), Dubai World Cup, Hong Kong Cup, Japan Cup (Asie/Asia) Prix de l’Arc de Triomphe, King George VI and Queen Elizabeth Stakes, Irish Champion (Europe/Europa) Breeders’ Cup Classic, Breeders’ Cup Turf (Amérique du Nord/North America) F des principaux reproducteurs, inscrits à la F the main stallions and broodmares, registered demande du Comité International des Stud on request of the International Stud Book Books. -
Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing. -
Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
I Stick My Neck out for Nobody
Excerpted from We’ll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood’s Most Beloved Movie by Noah Isenberg. Copyright © 2017 by Noah Isenberg. With permission of the publisher, W. W. Norton & Company, Inc. All rights reserved. Chapter 3 I Stick My Neck Out for Nobody Propertyuring of the W. 1930s, W. and intoNorton the early ’40s,& Company as the Great D Depression continued to cast its long shadow and dis- tressing memories of the Great War were still fresh in the minds of most Americans, politicians and the public at large were disinclined to meddle with the political affairs of Europe. Even after Hitler’s stunning ascent in Germany in January 1933, and the gradual rise of fascism in Italy, Americans showed little interest in waging an opposition. Hollywood, for its part, was no exception. Most studios, still reliant on sig- nificant revenue streams from the European export market, which into the mid-1930s constituted 30 to 40 percent of its box-office profits, fiercely avoided subjects that could be- con strued as offensive or insensitive. A typical attitude, voiced by M-G-M producer Irving Thalberg after returning from a trip to Germany in 1934, was “Hitler and Hitlerism will pass.” The 85 WellAlwaysHaveCasablanca_txt_final.indd 85 11/10/16 2:14 PM We’ll Always Have Casablanca imposition of the anti-Jewish Nuremberg Laws in 1935 didn’t stop most studios from continuing to retain cordial business ties with Nazi Germany, nor did the ruthless expansion of the Third Reich. “Fascism tipped the European applecart,” wrote journalist Helen Zigmond in a sobering report from December 1938, several months after the Anschluss and just weeks after the violent pogroms of Kristallnacht, “and Hollywood, instead of crying out against the bunglers, still scrambles for the fruit.” Although not without fault, Warner Bros. -
138904 09 Juvenilefilliesturf.Pdf
breeders’ cup JUVENILE FILLIES TURF BREEDERs’ Cup JUVENILE FILLIES TURF (GR. I) 6th Running Santa Anita Park $1,000,000 Guaranteed FOR FILLIES, TWO-YEARS-OLD ONE MILE ON THE TURF Weight, 122 lbs. Guaranteed $1 million purse including travel awards, of which 55% of all monies to the owner of the winner, 18% to second, 10% to third, 6% to fourth and 3% to fifth; plus travel awards to starters not based in California. The maximum number of starters for the Breeders’ Cup Juvenile Fillies Turf will be limited to fourteen (14). If more than fourteen (14) horses pre-enter, selection will be determined by a combination of Breeders’ Cup Challenge winners, Graded Stakes points and the Breeders’ Cup Racing Secretaries and Directors panel. Please refer to the 2013 Breeders’ Cup World Championships Horsemen’s Information Guide (available upon request) for more information. Nominated Horses Breeders’ Cup Racing Office Pre-Entry Fee: 1% of purse Santa Anita Park Entry Fee: 1% of purse 285 W. Huntington Dr. Arcadia, CA 91007 Phone: (859) 514-9422 To Be Run Friday, November 1, 2013 Fax: (859) 514-9432 Pre-Entries Close Monday, October 21, 2013 E-mail: [email protected] Pre-entries for the Breeders' Cup Juvenile Fillies Turf (G1) Horse Owner Trainer Al Thakhira (GB) Sheikh Joaan Bin Hamad Al Thani Marco Botti B.f.2 Dubawi (IRE) - Dahama (GB) by Green Desert - Bred in Great Britain by Qatar Bloodstock Ltd Chriselliam (IRE) Willie Carson, Miss E. Asprey & Christopher Wright Charles Hills B.f.2 Iffraaj (GB) - Danielli (IRE) by Danehill - Bred in Ireland by Ballylinch Stud Clenor (IRE) Great Friends Stable, Robert Cseplo & Steven Keh Doug O'Neill B.f.2 Oratorio (IRE) - Chantarella (IRE) by Royal Academy - Bred in Ireland by Mrs Lucy Stack Colonel Joan Kathy Harty & Mark DeDomenico, LLC Eoin G. -
English Literature and Society in the Eighteenth Century
English Literature and Society in the by Leslie Stephen 1 English Literature and Society in the by Leslie Stephen The Project Gutenberg EBook of English Literature and Society in the Eighteenth Century, by Leslie Stephen This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: English Literature and Society in the Eighteenth Century Author: Leslie Stephen Release Date: April 17, 2007 [EBook #21123] Language: English English Literature and Society in the by Leslie Stephen 2 Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH LITERATURE *** Produced by Thierry Alberto, Juliet Sutherland, Martin Pettit and the Online Distributed Proofreading Team at http://www.pgdp.net ENGLISH LITERATURE AND SOCIETY IN THE EIGHTEENTH CENTURY FORD LECTURES, 1903 By LESLIE STEPHEN [Illustration] LONDON DUCKWORTH and CO. 3 HENRIETTA STREET, W.C. 1904 TO HERBERT FISHER NEW COLLEGE, OXFORD My Dear Herbert,--I had prepared these Lectures for delivery, when a serious breakdown of health made it utterly impossible for me to appear in person. The University was then good enough to allow me to employ a deputy; and you kindly undertook to read the Lectures for me. I have every reason to believe that they lost nothing by the change. English Literature and Society in the by Leslie Stephen 3 I need only explain that, although they had to be read in six sections, and are here divided into five chapters, no other change worth noticing has been made. -
Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs
University of New Mexico UNM Digital Repository Sociology ETDs Electronic Theses and Dissertations 2-1-2012 Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs Follow this and additional works at: https://digitalrepository.unm.edu/soc_etds Recommended Citation Halbgewachs, Nancy Copeland. "Censorship and Holocaust Film in the Hollywood Studio System." (2012). https://digitalrepository.unm.edu/soc_etds/18 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Sociology ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Nancy Copeland Halbgewachs Candidate Department of Sociology Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. George A. Huaco , Chairperson Dr. Richard Couglin Dr. Susan Tiano Dr. James D. Stone i CENSORSHIP AND HOLOCAUST FILM IN THE HOLLYWOOD STUDIO SYSTEM BY NANCY COPELAND HALBGEWACHS B.A., Sociology, University of Kansas, 1962 M.A., Sociology, University of Kansas, 1966 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Sociology The University of New Mexico Albuquerque, New Mexico December, 2011 ii DEDICATION In memory of My uncle, Leonard Preston Fox who served with General Dwight D. Eisenhower during World War II and his wife, my Aunt Bonnie, who visited us while he was overseas. My friend, Dorothy L. Miller who as a Red Cross worker was responsible for one of the camps that served those released from one of the death camps at the end of the war.