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Wallace Stegner and the De-Mythologizing of the American West" (2004)
Digital Commons @ George Fox University Faculty Publications - Department of Professional Department of Professional Studies Studies 2004 Angling for Repose: Wallace Stegner and the De- Mythologizing of the American West Jennie A. Harrop George Fox University, [email protected] Follow this and additional works at: http://digitalcommons.georgefox.edu/dps_fac Recommended Citation Harrop, Jennie A., "Angling for Repose: Wallace Stegner and the De-Mythologizing of the American West" (2004). Faculty Publications - Department of Professional Studies. Paper 5. http://digitalcommons.georgefox.edu/dps_fac/5 This Dissertation is brought to you for free and open access by the Department of Professional Studies at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Department of Professional Studies by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. ANGLING FOR REPOSE: WALLACE STEGNER AND THE DE-MYTHOLOGIZING OF THE AMERICAN WEST A Dissertation Presented to The Faculty of Arts and Humanities University of Denver In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Jennie A. Camp June 2004 Advisor: Dr. Margaret Earley Whitt Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright by Jennie A. Camp 2004 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. GRADUATE STUDIES AT THE UNIVERSITY OF DENVER Upon the recommendation of the chairperson of the Department of English this dissertation is hereby accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Profess^inJ charge of dissertation Vice Provost for Graduate Studies / if H Date Reproduced with permission of the copyright owner. -
Catawba's Music Department Presents Annual Service of Lessons And
Highlights: December 2004 / Volume 26, Number 4 Homecoming 2004 — pages 10 & 11 Catawba’s Music Department presents Al’s Night Hawk remembered — page 17 annual Service of Lessons and Carols he Catawba College Department of Music presented its seventeenth annual Christmas Choral Concert, A Service of Lessons and Carols, Tuesday and Thursday, November 30 and December 2, in the Omwake-Dearborn Chapel on campus.T Again this year, both performances played to full houses due to the high level of community interest. Prelude music began each night at 6:30 p.m., with the Choral Procession starting at 7:00 p.m. Participants included the Catawba Chorale, Madrigals, and Singers, as well as the Catawba Brass, Sinnotts follow trail of Handbells, the Catawba Flute Choir; percussionists Jennie Brooks Lewis and Clark and Cara Shaffner; and flautist Jack Murray. Special guests once — page 20 again were members of the St. John's Men's Chorus. The program was be directed by Rosemary C. Kinard, Director of Choral Ensembles at Catawba. See LESSONS AND CAROLS, page 7 Karl Kinard directs Catawba Handbells Catawba mourns the passing of Marion M. “Chub” Richards Compiled by Richards' friend and colleague David Setzer stripes in the football trenches as a lineman, prompting some rival An icon in the history of Catawba College has passed from the scene. coaches to say that he and late team-mate Jake Briggs of Marion M. "Chub" Richards '41, who ably served his alma mater in a Lexington formed "the best guard tandem in small college foot- variety of staff and faculty positions over 38 years, died Tuesday, ball." December 7, at his home in Salisbury. -
Route of Meriwether Lewis from Harpers Ferry, Va. to Pittsburgh, Pa
Route of Meriwether Lewis from Harpers Ferry, Va. to Pittsburgh, Pa. July 8 – July 15, 1803 by David T. Gilbert National Park Service Harpers Ferry, West Virginia May 5, 2003 (Revised September 28, 2015) Introduction The route which Meriwether Lewis traveled from Harpers Ferry, Virginia to Pittsburgh, Pennsylvania, between July 8 and July 15, 1803, has not been well documented 1. The only primary source we have is a letter Lewis penned to President Jefferson from Harpers Ferry on July 8, 1803: I shall set out myself in the course of an hour, taking the route of Charlestown, Frankfort, Uniontown and Redstone old fort to Pittsburgh, at which place I shall most probably arrive on the 15th.2 Route of Meriwether Lewis July 8-July 15, 1803 Pittsburgh R Elizabeth E V I Petersons R Brownsville Pennsylvania O I H (Redstone old fort) O Uniontown Farmington POT OMA Cumberland C R IV Grantsville E M R O Maryland Forks of N Cacapon Harpers O N Fort Ashby Ferry G Brucetown A (Frankfort) H E Gainesboro L A Winchester R I West Virginia V Charles Town E R Virginia 1. With the exception of quoted primary sources, this document uses the contemporary spelling, Harpers Ferry, and not the 19th century spelling, Harper’s Ferry. Harpers Ferry was part of Virginia until June 20, 1863, when the state of West Virginia was created by Presidential Proclamation. 2. Meriwether Lewis to Thomas Jefferson, July 8, 1803, quoted in Donald Jackson,Letters of the Lewis and Clark Expedition, With Related Documents, 1783-1854 (Champaign, Illinois: University of Illinois Press, 1979), 106-107. -
October 2011
OctOber 2011 7:00 PM ET/4:00 PM PT 3:15 PM ET/12:15 PM PT 1:00 PM ET/10:00 AM PT 6:00 PM CT/5:00 PM MT 2:15 PM CT/1:15 PM MT 12:00 PM CT/11:00 AM MT The Wild Bunch - In Retro/Na- Robin Hood: Prince of Thieves Spaceballs tional Film Registry 5:45 PM ET/2:45 PM PT 2:45 PM ET/11:45 AM PT SATURDAY, OCTOBER 1 9:30 PM ET/6:30 PM PT 4:45 PM CT/3:45 PM MT 1:45 PM CT/12:45 PM MT 12:00 AM ET/9:00 PM PT 8:30 PM CT/7:30 PM MT Unforgiven - National Film Regis- Gremlins - Spotlight Feature 11:00 PM CT/10:00 PM MT Unforgiven - National Film Regis- try/Spotlight Feature 4:35 PM ET/1:35 PM PT The Country Bears - KIDS try/Spotlight Feature 8:00 PM ET/5:00 PM PT 3:35 PM CT/2:35 PM MT FIRST!/kidScene “Friday Nights” 11:45 PM ET/8:45 PM PT 7:00 PM CT/6:00 PM MT Gremlins 2: The New Batch 1:30 AM ET/10:30 PM PT 10:45 PM CT/9:45 PM MT A Face in the Crowd - In Retro/Na- 6:30 PM ET/3:30 PM PT 12:30 AM CT/11:30 PM MT The Wild Bunch - In Retro/Na- tional Film Registry 5:30 PM CT/4:30 PM MT White Squall tional Film Registry 10:15 PM ET/7:15 PM PT The Lost Boys 3:45 AM ET/12:45 AM PT 9:15 PM CT/8:15 PM MT 8:15 PM ET/5:15 PM PT 2:45 AM CT/1:45 AM MT SUNDAY, OCTOBER 2 Papillon - In Retro 7:15 PM CT/6:15 PM MT Everybody’s All American 2:15 AM ET/11:15 PM PT Beetlejuice 6:00 AM ET/3:00 AM PT 1:15 AM CT/12:15 AM MT MONDAY, OCTOBER 3 10:00 PM ET/7:00 PM PT 5:00 AM CT/4:00 AM MT Unforgiven - National Film Regis- 1:00 AM ET/10:00 PM PT 9:00 PM CT/8:00 PM MT Zula Patrol: Animal Adventures in try/Spotlight Feature 12:00 AM CT/11:00 PM MT Big Fish Space 4:30 AM ET/1:30 AM PT -
Race and Civility Conversations in South Dakota
Race and Civility Conversations in South Dakota ‘In Black Elk’s words, before the hoop of the Sioux Nation was broken by those who destroyed the old ways of life, the Indian honored the family; and the extended family...was one closely knit whole.’ - From SDHC Founder Jack Marken’s note in the 1972 proposal to NEH to establish the statewide humanities organization. 2017 PROGRAM CATALOG About the SDHC Help Us Build Cultural Capital The South Dakota Humanities The future of our youth and a vibrant culture Council (SDHC), founded in 1972 is in your hands. in response to an act of Congress, is a 501(c)3 non-profit and the 1. SD Festival of Books & Young Readers Festival only cultural organization in the (Annual Fund) state whose sole mission is to deliver humanities programming Your gift supports South Dakota’s premiere literary event reaching to the people of South Dakota. readers of all ages. As a statewide advocate for the 2. NEH Young Readers Challenge Grant (Funding for humanities, our mission is to Three Years) celebrate literature, promote civil conversation, and tell the stories We earned an NEH grant which will match, 1-to-1, funds received up to that define our state. $100,000. We are actively seeking donations for the first phase of securing $50,000 by a May 1, 2017, deadline. We will use the $200,000 to fund our We fulfill our mission by supporting Young Readers Initiative for three years. and promoting public programming 3. Unrestricted Gift (Annual Fund) in the humanities like the Speakers Bureau; providing grant funding You can help where we need it most. -
White Supremacist Prison Gangs in the United States a Preliminary Inventory Introduction
White Supremacist Prison Gangs in the United States A Preliminary Inventory Introduction With rising numbers and an increasing geographical spread, for some years white supremacist prison gangs have constitut- ed the fastest-growing segment of the white supremacist movement in the United States. While some other segments, such as neo-Nazis and the Ku Klux Klan, have suffered stagnation or even decline, white supremacist prison gangs have steadily been growing in numbers and reach, accompanied by a related rise in crime and violence. What is more, though they are called “prison gangs,” gangs like the Aryan Brotherhood of Texas, Aryan Circle, European Kindred and others, are just as active on the streets of America as they are behind bars. They plague not simply other inmates, but also local communities across the United States, from California to New Hampshire, Washington to Florida. For example, between 2000 and 2015, one single white supremacist prison gang, the Aryan Brotherhood of Texas, was responsible for at least 33 murders in communities across Texas. Behind these killings were a variety of motivations, including traditional criminal motives, gang-related murders, internal killings of suspected informants or rules-breakers, and hate-related motives directed against minorities. These murders didn’t take place behind bars—they occurred in the streets, homes and businesses of cities and towns across the Lone Star State. When people hear the term “prison gang,” they often assume that such gang members plague only other prisoners, or perhaps also corrections personnel. They certainly do represent a threat to inmates, many of whom have fallen prey to their violent attacks. -
Black Cowboys: Ned Logan and the Portrayal of Blackness in Unforgiven
Black Cowboys: Ned Logan and the Portrayal of Blackness in Unforgiven The Oscars, film critics, and viewers alike have witnessed and praised the plot and performance of Unforgiven for many reasons. Will Munny still stands as the first image that comes to mind when thinking about Unforgiven - either his concerned face, him riding his horse, falling into mud, or infamously killing the town sheriff, Little Bill. Will Munny stands as the face of Unforgiven, similar to how Clint Eastwood stands as the mind behind the film. However, after further watching, re-watching, and engaging in a close viewing of the film, especially as a Black viewer, Ned Logan becomes the most important and different character in the film to me. Analysis into the film (while having my personal Black experience as context) reveals both a dichotomy and a purpose that Ned, and only Ned, has as the only Black figure in the film. I believe these distinct characterizations of Ned relate to his Blackness and the lack of diversity on and off screen. With the context of film history, Black cowboys in the nineteenth century, and through my eyes as a Black film viewer, I center Ned and try to understand how his character speaks to issues in film-making as it pertains to Black stories. Ned’s dynamic in this film interests me because he becomes both hyper-visible and invisible as a character. Almost everything he does and says centers Will, making him a classic sidekick. At the same time, Ned’s guidance to Will, and even his death, single-handedly shape Will’s decisions and character development in the movie. -
MUJERES, ARTE Y PODER.Pdf
MUJERES, ARTE Y PODER EL PAPEL DE LA MUJER EN LA TRANSFORMACIÓN DE LA LITERATURA Y LAS ARTES MUJERES, ARTE Y PODER EL PAPEL DE LA MUJER EN LA TRANSFORMACIÓN DE LA LITERATURA Y LAS ARTES MUJERES, ARTE Y PODER EL PAPEL DE LA MUJER EN LA TRANSFORMACIÓN DE LA LITERATURA Y LAS ARTES COMITÉ CIENTÍFICO: Ana Aranda Bernal Universidad Pablo Olavide de Sevilla Mercedes Arriaga Flórez Universidad de Sevilla Isabel Clúa Ginés Universidad de Sevilla María Elena Díez Jorge Universidad de Granada Gloria Espinosa Spínola Universidad de Almería Pura Fernández Rodríguez Centro de Ciencias Humanas y Sociales del CSIC (Madrid) Concha Lomba Serrano Universidad de Zaragoza Yolanda Victoria Olmedo Sánchez Universidad de Córdoba Colaboración Científica: Proyecto de Investigación I+D Las artistas en España, 1804-1939 (HAR2017-84399-P) Ministerio de Economía y Competitividad. Universidad de Zaragoza. EDITORAS ACADÉMICAS: Ana Aranda Bernal. Mercedes Comellas Aguirrezábal. Magdalena Illán Martín. AGRADECIMIENTOS: Antonio J. Santos Márquez. Custodio Velasco Mesa. Juan Miguel Illán Calado. EDITA: Excmo. Ayuntamiento de Sevilla. Dirección General de Igualdad y Cooperación. Área de Igualdad, Juventud y Relaciones con la Comunidad Universitaria. Servicio de la Mujer, 2019. EQUIPO TÉCNICO: © Excmo. Ayuntamiento de Sevilla, 2019. © Autoras y Autores de los textos correspondientes, 2019. DISEÑO Y MAQUETACIÓN: Servicio de la Mujer. Fotografía de portada: Romaine Brooks, Autorretrato, 1923. Smithsonian American Art Museum, Washington D.C. (EE.UU.) IMPRESIÓN: Imprenta Municipal. ISBN: 978-84-09-10431-4 Depósito Legal: SE-948-2019 A las aladas almas de las rosas… A nuestra querida compañera y amiga Lina Malo Lara Mujeres, Arte y Poder. El papel de la mujer en la transformación de la Literatura y las Artes - 8 - Mujeres, Arte y Poder. -
HISTORY COMMENTARY Self-Destruction on the Natchez Trace: Meriwether Lewis's Act of Ultimate Courage by Reimert Thorolf Ravenholt
WashingtonHistory.org HISTORY COMMENTARY Self-Destruction on the Natchez Trace: Meriwether Lewis's Act of Ultimate Courage By Reimert Thorolf Ravenholt COLUMBIA The Magazine of Northwest History, Summer 1999: Vol. 13, No. 2 In his comprehensive biography, Meriwether Lewis, Richard Dillon in 1965 detailed the extraordinary behavior of Lewis during his last days, enabling me to provide a scientific solution (Epidemiology, May 1994) to the 184-year mystery concerning the underlying cause of his untimely death on the Natchez Trace in Tennessee on October 11, 1809. The nature of Lewis's death was so bizarre that Dillon and many others have persistently refused to believe that Lewis committed suicide, despite incontrovertible evidence that he did. According to James Neely and Alexander Wilson, three persons—Mrs. Robert Grinder, keeper of Grinder's Stand; John Pernia, trusted servant of Lewis; and Neely's servant—were eye-witnesses to his death and reported that Lewis spoke to them as he lay dying at dawn. When Pernia came up from the barn, Lewis said, "I have done the business, my good servant. Give me some water." He also begged them to take his rifle and blow out his brains. And his last words, just as the sun tinged the treetops, were, "I am no coward, but I am so strong. It is hard to die." Major James Neely, Lewis's traveling companion, who had remained behind at Dogwood Mudhole the previous morning to find two strayed horses, arrived at Grinder's Stand within hours of Lewis's death and had ample opportunity to question each witness and examine the mortal wounds before burying the body. -
1-Abdul Haseeb Ansari
Journal of Criminal Justice and Law Review : Vol. 1 • No. 1 • June 2009 IDENTIFYING LARGE REPLICABLE FILM POPULATIONS IN SOCIAL SCIENCE FILM RESEARCH: A UNIFIED FILM POPULATION IDENTIFICATION METHODOLOGY FRANKLIN T. WILSON Indiana State University ABSTRACT: Historically, a dominant proportion of academic studies of social science issues in theatrically released films have focused on issues surrounding crime and the criminal justice system. Additionally, a dominant proportion has utilized non-probability sampling methods in identifying the films to be analyzed. Arguably one of the primary reasons film studies of social science issues have used non-probability samples may be that no one has established definitive operational definitions of populations of films, let alone develop datasets from which researchers can draw. In this article a new methodology for establishing film populations for both qualitative and quantitative research–the Unified Film Population Identification Methodology–is both described and demonstrated. This methodology was created and is presented here in hopes of expand the types of film studies utilized in the examination of social science issues to those communication theories that require the examination of large blocks of media. Further, it is anticipated that this methodology will help unify film studies of social science issues in the future and, as a result, increase the reliability, validity, and replicability of the said studies. Keywords: UFPIM, Film, Core Cop, Methodology, probability. Mass media research conducted in the academic realm has generally been theoretical in nature, utilizing public data, with research agendas emanating from the academic researchers themselves. Academic studies cover a gambit of areas including, but not limited to, antisocial and prosocial effects of specific media content, uses and gratifications, agenda setting by the media, and the cultivation of perceptions of social reality (Wimmer & Dominick, 2003). -
Racism and the Aesthetic of Hyper-Real Violence: Pulp Fiction and Other Visual Tragedies
Racism and the Aesthetic of Hyper-real Violence: Pulp Fiction and Other Visual Tragedies By: Henry A. Giroux Social Identities 1:2 (1995), pp. 333-354. Cinema and the Culture of Violence American cinema has increasingly provided a site of convergence for depicting both the inner city "reality" of black-on-black youth violence and for promoting a renewed "acceptability and/or tolerance of straightforward racist doctrine." Recent films focusing on black urban violence such as Boys N the Hood(1991), Juice (1992), Menace II Society(1993), Sugar Hill(1994), and Fresh(1994) have attracted national media coverage because they do not simply represent contemporary urban realities but also reinforce the popular perception that everyday black urban life and violent crime mutually define each other. Cinema appears to be providing a new language and aesthetic in which the city becomes the central site for social disorder and violence, and black youth in particular, become agents of crime, pathology, and moral decay. Real life and celluloid images blur as the representations of race and violence proliferate more broadly through the news media's extensive coverage of youth violence, not infrequently highlighting the gore, guts, hysteria, and other tawdry Hollywood effects to punctuate its sensationalist often racist commentary. The relationship between the everyday and cinematic representations is often taken up as causal, as when the national media recently focused on Hispanic youth in Los Angeles, New York, and New Jersey who rioted or fought each other outside of the movie theaters in which black youth gangsta films were being shown. In examining these real and symbolic representations of black on black violence, the popular press used the incident to link exposure to media violence with aggressive, anti social behavior in real life. -
Cowboy Politics: the Changing Frontier Myth and the Presidencies Of
COWBOY POLITICS: THE CHANGING FRONTIER MYTH AND PRESIDENCIES OF THEODORE ROOSEVELT, LYNDON JOHNSON, RONALD REAGAN AND GEORGE W. BUSH A Dissertation Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Interdisciplinary Studies Graduate Program UNIVERSITY OF SASKATCHEWAN SASKATOON BY DAVID ALEXANDER SMITH © Copyright David Alexander Smith, April 2016. All rights reserved. PERMISSION TO USE In presenting this dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my dissertation work was done. It is understood that any copying or publication of use of this dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my dissertation. DISCLAIMER Reference in this dissertation to any specific commercial products, process, or service by trade name, trademark, manufacturer, or otherwise, does not constitute or imply its endorsement, recommendation, or favouring by the University of Saskatchewan. The views and opinions of the author expressed herein do not state or reflect those of the University of Saskatchewan, and shall not be used for advertising or product endorsement purposes.