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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 -
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. -
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. -
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 -
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. -
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. -
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. -
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. -
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. -
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. -
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 -
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.