Read Ebook {PDF EPUB} Ozma of Oz by L. Frank Baum Download Now! We Have Made It Easy for You to Find a PDF Ebooks Without Any Digging

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} Ozma of Oz by L. Frank Baum Download Now! We Have Made It Easy for You to Find a PDF Ebooks Without Any Digging Read Ebook {PDF EPUB} Ozma Of Oz by L. Frank Baum Download Now! We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with The Emerald City Of Oz 6 L Frank Baum . To get started finding The Emerald City Of Oz 6 L Frank Baum , you are right to find our website which has a comprehensive collection of manuals listed. Our library is the biggest of these that have literally hundreds of thousands of different products represented. Finally I get this ebook, thanks for all these The Emerald City Of Oz 6 L Frank Baum I can get now! cooool I am so happy xD. I did not think that this would work, my best friend showed me this website, and it does! I get my most wanted eBook. wtf this great ebook for free?! My friends are so mad that they do not know how I have all the high quality ebook which they do not! It's very easy to get quality ebooks ;) so many fake sites. this is the first one which worked! Many thanks. wtffff i do not understand this! Just select your click then download button, and complete an offer to start downloading the ebook. If there is a survey it only takes 5 minutes, try any survey which works for you. The Wonderful Wizard of Oz. Our editors will review what you’ve submitted and determine whether to revise the article. The Wonderful Wizard of Oz , children’s book written by L. Frank Baum and first published in 1900. A modern fairy tale with a distinctly American setting, a delightfully levelheaded and assertive heroine, and engaging fantasy characters, the story was enormously popular and became a classic of children’s literature. However, by the late 20th century the 1939 film The Wizard of Oz had become more familiar than the book on which it was based. Summary. Dorothy is a young girl who lives in a one-room house in Kansas with the care-worn Uncle Henry and Aunt Em; the joy of her life is her dog, Toto. A sudden cyclone strikes, and, by the time Dorothy catches Toto, she is unable to reach the storm cellar. They are still in the house when the cyclone carries it away for a long journey. When at last the house lands, Dorothy finds that she is in a beautiful land inhabited by very short, strangely dressed people. The Witch of the North informs her that she is in the land of the Munchkins, who are grateful to her for having killed the Wicked Witch of the East (the house having landed on the witch), thus freeing them. The Witch of the North gives Dorothy the silver shoes of the dead witch and advises her to go to the City of Emeralds to see the Great Wizard Oz, who might help her return to Kansas. The witch sends Dorothy off along the yellow brick road with a magical kiss to protect her from harm. On the long journey to the Emerald City, Dorothy and Toto are joined by the Scarecrow, who wishes he had brains; the Tin Woodman, who longs for a heart; and the Cowardly Lion, who seeks courage. They face many trials along their route, but they overcome them all, often because of the Scarecrow’s good sense, the Tin Woodman’s kindness, and the bravery of the Cowardly Lion. At last they reach the Emerald City, where the Guardian of the Gates outfits them with green-lensed glasses and leads them to the Palace of Oz. Oz tells them that no favours will be granted until the Wicked Witch of the West has been killed. The companions head to the land of the Winkies, ruled by the Wicked Witch of the West. The witch sends wolves, crows, bees, and armed Winkies to stop them, all to no avail. So she uses her Golden Cap to summon the Winged Monkeys. The Winged Monkeys destroy the Scarecrow and the Tin Woodman and cage the Cowardly Lion, but they bring Dorothy and Toto to the witch, who enslaves Dorothy. The witch wants Dorothy’s shoes, which she knows carry powerful magic. She contrives to make Dorothy trip and fall, so she can grab one of the shoes. An angered Dorothy throws a bucket of water at the witch, who then melts away to nothing. Dorothy frees the Cowardly Lion and engages the help of the now free Winkies in repairing and rebuilding the Tin Woodman and the Scarecrow, and the friends return to Oz. Oz does not summon them for several days, and, when he does admit them into his presence, he seems reluctant to grant their wishes. Toto knocks over a screen, revealing that Oz is only a common man. However, he fills the Scarecrow’s head with bran and pins and needles, saying that they are brains; he puts a silk-and-sawdust heart into the Tin Woodman; and he gives the Cowardly Lion a drink that he says is courage. He and Dorothy make a balloon to carry them out of the Land of Oz, but the balloon flies away before Dorothy can board; Oz leaves the Scarecrow in charge of the Emerald City. At the suggestion of a soldier, Dorothy and her friends go to seek the help of Glinda, the Witch of the South. They encounter several obstacles but at last reach Glinda’s Castle. Glinda summons the Winged Monkeys so that they can take the Tin Woodman back to rule the Winkies, the Scarecrow back to Emerald City, and the Cowardly Lion to the forest to be king of the beasts. Then she tells Dorothy how to use the silver shoes to take her back to Kansas. Dorothy gathers up Toto, clicks her heels together three times, and says, “Take me home to Aunt Em!” She is transported back to the farm in Kansas. Analysis. As well as being a wonderful and exciting adventure for children, the novel shows that each of the travelers already possessed what they had thought they lacked. Dorothy’s pluck and the fully realized Land of Oz won over young readers, who were eager to see more adventures set in Oz. Baum wrote 13 more Oz books, and the series was continued by another writer after his death. A successful stage adaptation of the book opened in Chicago in 1902 and moved to Broadway the following year, and the 1939 musical film version starring Judy Garland became a cinema classic, made famous to later generations of children through frequent showings on television. The Wiz (1978), which starred Diana Ross as Dorothy and exchanged Kansas for New York City, was another notable adaptation. L Frank Baum (1856 – 1919) W. Denslow, of one of the most popular books ever written in American children's literature, The Wonderful Wizard of Oz. Frank was born in Chittenango, New York, into a Protestant family of German origin, the seventh of nine children born to Cynthia Stanton and Benjamin Ward Baum, only five of whom survived into adulthood. He was named "Lyman" after his father's brother, but always disliked this name, and preferred to go by "Frank". His mother, Cynthia Stanton, was a direct descendant of Thomas Stanton, one of the four Founders of what is now Stonington, Connecticut. Benjamin Baum was a wealthy businessman, who had made his fortune in the oil fields of Pennsylvania. Frank grew up on his parents' expansive estate, Rose Lawn, which he always remembered fondly as a sort of paradise. As a young child Frank was tutored at home with his siblings, but at the age of 12 he was sent to study at Peekskill Military Academy. Frank was a sickly child given to daydreaming, and his parents may have thought he needed toughening up. But after two utterly miserable years at the military academy, following an incident described as a heart attack, he was allowed to return home. Frank started writing at an early age, perhaps due to an early fascination with printing. His father bought him a cheap printing press, and Frank used it to produce The Rose Lawn Home Journal with the help of his younger brother, Harry Clay Baum, with whom he had always been close. The brothers published several issues of the journal and were even able to sell ads. By the time he was 17, Baum had established a second amateur journal, The Stamp Collector, printed an 11-page pamphlet called Baum's Complete Stamp Dealers' Directory, and started a stamp dealership with his friends. At about the same time Frank embarked upon his lifetime infatuation with theater and the performing arts, a devotion which would repeatedly lead him to failure and near-bankruptcy. His first such failure occurred at age 18, when a local theatrical company duped him into replenishing their stock of costumes, with the promise of leading roles that never came his way. Disillusioned, Baum left the theatre-temporarily-and went to work as a clerk in his brother-in-law's dry goods company in Syracuse. At the age of 20, Baum took on a new vocation: the breeding of fancy poultry, which was a national craze at the time. He specialized in raising a particular breed of fowl, the Hamburg chicken. In 1880 he established a monthly trade journal, The Poultry Record, and in 1886, when Baum was 30 years old, his first book was published: The Book of the Hamburgs: A Brief Treatise upon the Mating, Rearing, and Management of the Different Varieties of Hamburgs.
Recommended publications
  • To the Baum Bugle Supplement for Volumes 46-49 (2002-2005)
    Index to the Baum Bugle Supplement for Volumes 46-49 (2002-2005) Adams, Ryan Author "Return to The Marvelous Land of Oz Producer In Search of Dorothy (review): One Hundred Years Later": "Answering Bell" (Music Video): 2005:49:1:32-33 2004:48:3:26-36 2002:46:1:3 Apocrypha Baum, Dr. Henry "Harry" Clay (brother Adventures in Oz (2006) (see Oz apocrypha): 2003:47:1:8-21 of LFB) Collection of Shanower's five graphic Apollo Victoria Theater Photograph: 2002:46:1:6 Oz novels.: 2005:49:2:5 Production of Wicked (September Baum, Lyman Frank Albanian Editions of Oz Books (see 2006): 2005:49:3:4 Astrological chart: 2002:46:2:15 Foreign Editions of Oz Books) "Are You a Good Ruler or a Bad Author Albright, Jane Ruler?": 2004:48:1:24-28 Aunt Jane's Nieces (IWOC Edition "Three Faces of Oz: Interviews" Arlen, Harold 2003) (review): 2003:47:3:27-30 (Robert Sabuda, "Prince of Pop- National Public Radio centennial Carodej Ze Zeme Oz (The ups"): 2002:46:1:18-24 program. Wonderful Wizard of Oz - Czech) Tribute to Fred M. Meyer: "Come Rain or Come Shine" (review): 2005:49:2:32-33 2004:48:3:16 Musical Celebration of Harold Carodejna Zeme Oz (The All Things Oz: 2002:46:2:4 Arlen: 2005:49:1:5 Marvelous Land of Oz - Czech) All Things Oz: The Wonder, Wit, and Arne Nixon Center for Study of (review): 2005:49:2:32-33 Wisdom of The Wizard of Oz Children's Literature (Fresno, CA): Charobnak Iz Oza (The Wizard of (review): 2004:48:1:29-30 2002:46:3:3 Oz - Serbian) (review): Allen, Zachary Ashanti 2005:49:2:33 Convention Report: Chesterton Actress The Complete Life and
    [Show full text]
  • The Man Behind the Curtain: L
    Article: The Wizard of Oz Dr. Jay Seller The Man Behind the Curtain: L. Frank Baum and The Wizard of Oz by Linda McGovern L. Frank Baum in 1881 Chances are you have seen the 1939 MGM movie, The Wizard of Oz, at one point or another in your lifetime. But the chances maybe even greater that you do not associate it with L. Frank Baum, the author of the book on which the film was based. In fact, most people have probably never heard of him at all unless they have read his work or were born around the time when he was popular. Whether it is shown on television annually or rented at the local video store, The Wizard of Oz has become a staple of American popular culture. Young or old, we know where the famous, unforgettable lines originate; we know the characters by heart: Dorothy, Toto, the Tin Man, the Scarecrow and the Cowardly Lion, as well as the munchkins. Oz is as familiar as our own backyards. Although the movie and the book differ in minor ways, the premise is similar and so are most of the characters. The only significant difference that might matter to a child and possibly to an adult, is that in the movie, Dorothy’s journey to Oz is only a dream, purely imaginary, in other words, not real. In the book, however, there is no such rationale. Instead it invites the child to use his or her imagination as a creative, transforming force and to accept the journey, and Oz as a real place full of hope over the rainbow, where the child could escape ordinary life.
    [Show full text]
  • The Wizard Behind the Plate: L. Frank Baum, the Hub City Nine, and Baseball on the Prairie
    Copyright © 2000 by the South Dakota State Historical Society. All Rights Reserved. The Wizard behind the Plate: L. Frank Baum, the Hub City Nine, and Baseball on the Prairie Michael Patrick Hearn On the morning of 14 May 1889, a group of ambitious young businessmen met at the Hagerty and Paulliamus real estate office to look into the possibility of establishing a local professional baseball team in Aberdeen, Brown County, Dakota Territory, Times were good, and these local heavy hitters were seeking another means of boosting their community. "Nothing creates enthusiasm like base ball/' admitted the Aberdeen Daily News the next day, "and nothing will draw a crowd so continuously as the national game closely contested and honorably played. The enthusiasts from all over the country come in to see the sport, every man of whom contributes his mite towards the car- rying on of nearly all kinds of business. It makes lively times, it advertises the town, it brings people to the city and in many ways stimulates and fosters business."' Minneapolis, Saint Paul, Des Moines, Milwaukee, Omaha, and Sioux City already had In addition lo many lonR hours spent itt the Alexander Mitcht-ll I.ihr;ir>-, Alierüeen, S.Dak.. the New York Public Libran, and (he Library of Congress, 1 am grateful to the late Matilda Jewell Gage; Riitiert A. Bauin, Jr.; Michael Ges.sel; Nanty Ty.stad Koupal and Laura Ries, South Dakota State Historical SfKieCy. Pierre; Sue Gates and Micheie Porter, Dacotah Prairie Maseuin. Aherdeen; and Saily Roe.sch Wajîner, Matilda Joslyn Gage Foundation, Fayetleville, N.Y., for providing most ofthe material for this article.
    [Show full text]
  • The Wizard of Oz by L
    Sydney Theatre Company presents the Windmill Performing Arts production of The Wizard of Oz By L. Frank Baum With Music and Lyrics by Harold Arlen and E.Y. Harburg Background Music By Herbert Stothart Dance and Vocal Arrangements by Peter Howard Orchestration by Larry Wilcox Adapted by John Kane for The Royal Shakespeare Company Based upon the classic motion picture owned by Turner Entertainment Co and distributed in all media by Warner Bros. Teacher Resources Written and compiled by Robyn Ewing & Robyn Gibson ‐ University of Sydney and Windmill Performing Arts Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company’s The Wizard of Oz Teacher’s Notes © 2009 1 TABLE OF CONTENTS Sydney Theatre Company ...............................................................................................................................3 STC Ed..............................................................................................................................................................3 About Windmill Performing Arts.....................................................................................................................4 IMPORTANT INFORMATION............................................................................................................................5 Background Information About the Production
    [Show full text]
  • The Wizard of Oz
    The Wizard of Oz STUDY GUIDE For Educators and Families Welcome to Carousel Theatre’s production of THEMES The Wizard of Oz and its companion Study Guide for Family Educators and Families! Home Courage Follow the yellow brick road with Personal Growth Dorothy and the gang in Carousel Theatre’s production of The Independence Wizard of Oz! This brave Friendship adventure follows Dorothy and her Problem Solving three strange friends; a Teamwork Scarecrow, Tin Man, and Lion as Overcoming Obstacles they journey on to see the great and powerful Wizard of Oz. During Dorothy’s search for the TABLE OF CONTENTS Wizard she discovers the true (Page) meaning of friendship, personal 1. Themes growth, and most important: there is no place like home! 2. Synopsis 3. About the Writer We hope you enjoy this Resource Character Breakdown Guide and as always, if you have 4. Interview with Director any suggestions, we would love to 5. Classroom Activities hear from you. 6. Activities Continued If you have any questions, please 7. Theatre Etiquette give us a call at 604.669.3410 Theatre Terms or email us at 8. Production Crew/Cast Robyn Wallis and Darren Burkett in THE WIZARD OF OZ. [email protected]. Interesting Links Photo by Tim Matheson Carousel Theatre, 2011. 9. About Carousel Theatre Our Sponsors Written by L. Frank Baum Contact Us Family Performances Dec 2 - 31, 2011 The Wizard School Matinees Nov 30 - Dec. 16, 2011 AUDIENCE WARNING: Strobe lights and Of haze will be used in this production. If you Oz have concerns about student reactions to these elements, please speak with a Carousel staff member prior to your visit.
    [Show full text]
  • The Baum Bugle
    Fourth Draft Three Column Version August 15, 2002 The Baum Bugle The Journal of the International Wizard of Oz Club Index for Volumes 1-45 1957-2001 Volumes 1 through 31: Frederick E. Otto Volumes 32 through 45: Richard R. Rutter Dedications The Baum Bugle’s editors for giving Oz fans insights into the wonderful world of Oz. Fred E. Otto [1927-95] for launching the indexing project. Peter E. Hanff for his assistance and encouragement during the creation of this third edition of The Baum Bugle Index (1957-2001). Fred M. Meyer, my mentor during more than a quarter century in Oz. Introduction Founded in 1957 by Justin G. Schiller, The International Wizard of Oz Club brings together thousands of diverse individuals interested in The Wonderful Wizard of Oz and this classic’s author, L. Frank Baum. The forty-four volumes of The Baum Bugle to-date play an important rôle for the club and its members. Despite the general excellence of the journal, the lack of annual or cumulative indices, was soon recognized as a hindrance by those pursuing research related to The Wizard of Oz. The late Fred E. Otto (1925-1994) accepted the challenge of creating a Bugle index proposed by Jerry Tobias. With the assistance of Patrick Maund, Peter E. Hanff, and Karin Eads, Fred completed a first edition which included volumes 1 through 28 (1957-1984). A much improved second edition, embracing all issues through 1988, was published by Fred Otto with the assistance of Douglas G. Greene, Patrick Maund, Gregory McKean, and Peter E.
    [Show full text]
  • DAMMIT, TOTO, WE're STILL in KANSAS: the FALLACY of FEMINIST EVOLUTION in a MODERN AMERICAN FAIRY TALE by Beth Boswell a Diss
    DAMMIT, TOTO, WE’RE STILL IN KANSAS: THE FALLACY OF FEMINIST EVOLUTION IN A MODERN AMERICAN FAIRY TALE by Beth Boswell A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Middle Tennessee State University May 2018 Dissertation Committee: Dr. Martha Hixon, Director Dr. Will Brantley Dr. Jane Marcellus This dissertation is dedicated, in loving memory, to two dearly departed souls: to Dr. David L. Lavery, the first director of this project and a constant voice of encouragement in my studies, whose absence will never be wholly realized because of the thousands of lives he touched with his spirit, enthusiasm, and scholarship. I am eternally grateful for our time together. And to my beautiful grandmother, Fay M. Rhodes, who first introduced me to the yellow brick road and took me on her back to a pear-tree Emerald City one hundred times or more. I miss you more than Dorothy missed Kansas. ii ACKNOWLEDGMENTS This dissertation would not have been possible without the educators who have pushed me to challenge myself, to question everything in the world around me, and to be unashamed to explore what I “thought” I already knew, over and over again. Though there are too many to list by name, know that I am forever grateful for your encouragement and dedication to learning, whether in the classroom or the world. I would like to thank my phenomenal committee for their tireless support and assistance in this project. I am especially grateful for Dr. Martha Hixon, who stepped in as my director after the passing of Dr.
    [Show full text]
  • Trauma, Creativity, and Unconscious Confessions: the Lost Childhood History Behind L
    TRAUMA, CREATIVITY, AND UNCONSCIOUS CONFESSIONS: THE LOST CHILDHOOD HISTORY BEHIND L. FRANK BAUM‘S THE WONDERFUL WIZARD OF OZ REGINALD LEAMON ROBINSON* I. INTRODUCTION ―[P]oisonous pedagogy‖ breeds overly well-adjusted individuals who can only trust the mask they have been forced to wear because as children they lived in constant fear of punishment. – Alice Miller The Body Never Lies: The Lingering Effects of Hurtful Parenting1 Born in 1856 and raised by devout Methodists, Lyman Frank Baum was beaten, manipulated, and ―murdered.‖ Perhaps not seen as a creative, imaginative child but as an idle and perhaps unmanly one, Frank‘s parents, Benjamin Baum and Cynthia Baum, would have been determined to make him morally upright, socially productive, and not a slight, limp-wristed dandy. To garner this outcome, Benjamin may have had to be a stern, self- absorbed, and imposing figure,2 especially given that his father, John, was a circuit riding Methodist minister, who likely preached about the dangers of the devil and lack of inner moral discipline.3 As such, John Baum would * Copyright © 2010 by Reginald Leamon Robinson. Professor of Law, Howard University School of Law, Washington, D.C. B.A., (Phi Beta Kappa, Magna Cum Laude), Howard University (1981); M.A., Political Science, The University of Chicago (1983); Exchange Scholar, Political Science and Economic, Yale University (1984–1985); J.D., The University of Pennsylvania (1989). I would like to thank Dean Kurt Schmoke for his support and comments. I would also like to thank Professor Anthony Farley for organizing the ―Taking Oz Seriously‖ symposium, which was hosted wonderfully by the Albany Law School.
    [Show full text]
  • South Dakota History
    VOL. 41, NO. 1 SPRING 2011 South Dakota History 1 Index to South Dakota History, Volumes 1–40 (1970–2010) COMPILED BY RODGER HARTLEY Copyright 2011 by the South Dakota State Historical Society, Pierre, S.Dak. 57501-2217 ISSN 0361-8676 USER’S GUIDE Over the past forty years, each volume (four issues) of South Dakota History has carried its own index. From 1970 to 1994, these indexes were printed separately upon comple- tion of the last issue for the year. If not bound with the volume, as in a library set, they were easily misplaced or lost. As the journal approached its twenty-fifth year of publica- tion, the editors decided to integrate future indexes into the back of every final issue for the volume, a practice that began with Volume 26. To mark the milestone anniversary in 1995, they combined the indexes produced up until that time to create a twenty-five-year cumulative index. As the journal’s fortieth anniversary year of 2010 approached, the need for another compilation became clear. The index presented here integrates the past fifteen volume indexes into the earlier twenty-five-year cumulative index. While indexers’ styles and skills have varied over the years, every effort has been made to create a product that is as complete and consistent as possible. Throughout the index, volume numbers appear in bold-face type, while page numbers are in book-face. Within the larger entries, references to brief or isolated pas- sages are listed at the beginning, while more extensive references are grouped under the subheadings that follow.
    [Show full text]
  • Vibrant Environments: the Feel of Color from the White Whale to the Red Wheelbarrow
    View metadata, citation and similar papers at core.ac.uk brought to COREyou by provided by Carolina Digital Repository Vibrant Environments: The Feel of Color from the White Whale to the Red Wheelbarrow Nicholas Gaskill A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Approved by: Jane F. Thrailkill (Director) Robert Cantwell Priscilla Wald John McGowan Gregory Flaxman © 2010 Nicholas Gaskill ALL RIGHTS RESERVED ii ABSTRACT NICHOLAS GASKILL: Vibrant Environments: The Feel of Color from the White Whale to the Red Wheelbarrow (Under the direction of Jane F. Thrailkill) In the closing decades of the nineteenth century, a host of color media technologies combined with new theories of embodied perception to alter both the types of color experiences commonly available and the general understanding of their significance. Synthetic colors brightened all manner of manufactured goods, from textiles and tin can labels to candy and oil paints, and these colored materials sparked a flurry of interest in the sensory and affective impact of cultural environments. This dissertation argues that the discourses and practices of modern color in the U.S. guided literary writers in experimenting with the effects of textual “environments” on readers and in demonstrating, through these investigations, the role of aesthetic experience in the extra-artistic realms of commerce, political reform, and education. At issue in each of these areas is the formation of individual subjects—and the groups they might create— through interactions with an arranged material environment.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musi
    UNIVERSITY OF CALIFORNIA Los Angeles “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Samuel Dworkin Baltimore 2013 ABSTRACT OF THE DISSERTATION “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins by Samuel Dworkin Baltimore Doctor of Philosophy in Musicology University of California, Los Angeles, 2013 Professor Raymond Knapp, Chair This dissertation examines the ways that various subcultural audiences define themselves through repeated interaction with musical comedy. By foregrounding the role of the audience in creating meaning and by minimizing the “show” as a coherent work, I reconnect musicals to their roots in comedy by way of Mikhail Bakhtin’s theories of carnival and reduced laughter. The audiences I study are kids, queers, and collectors, an alliterative set of people whose gender identities and expressions all depart from or fall outside of the normative binary. Focusing on these audiences, whose musical comedy fandom is widely acknowledged but little studied, I follow Raymond Knapp and Stacy Wolf to demonstrate that musical comedy provides a forum for identity formation especially for these problematically gendered audiences. ii The dissertation of Samuel Dworkin Baltimore is approved. Mitchell Morris Elisabeth Le Guin Stacy Wolf Raymond Knapp, Committee Chair University of California, Los Angeles
    [Show full text]
  • Exposing the Man Behind the Curtain: Educational Aims and Latent Lessons in L
    EXPOSING THE MAN BEHIND THE CURTAIN: EDUCATIONAL AIMS AND LATENT LESSONS IN L. FRANK BAUM’S OZ BOOKS By ANDREW LAWRENCE GRUNZKE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 Andrew Lawrence Grunzke 2 To my Patchwork Girl, my wife Rebecca, who fell in love with me because I fell in love with Oz 3 ACKNOWLEDGMENTS Many people have sacrificed a great deal to make this dissertation possible. My committee has been invaluable in the process. The friendly encouragement of Dr. R. Brandon Kershner, Dr. Elizabeth Bondy, and Dr. Arthur Newman made working with them a pleasurable and enriching experience. Studying under Dr. Sevan Terzian has proven to be greatly rewarding. His honest and constructive criticism, exacting standards, professionalism, and patience have taught me what it means to be a true scholar and have led me to create the quality dissertation he believed I could write. I also owe a great deal to the librarians at the archives at the Florida State Library who were friendly and helpful (even as I was looking into some unfortunate events in their history). Also, I appreciate the aid of the librarians at the University of Minnesota who were kind enough to let me access their beautiful and sizable Baum Bugle collection. The contributions of my wife, Rebecca, cannot be overestimated. Her passion for my work, abilities as an editor, and willingness to listen to me discuss Oz endlessly kept me dedicated to this project.
    [Show full text]