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Nosa 3S an Angel Sow Epitaphs from Crawford County, Pennsylvania William B
Nosa 3s an Angel Sow Epitaphs from Crawford County, Pennsylvania William B. Moore and Stephen C. Davies Part 3 McCLURE CEMETERY Tis finished, so the Savior cried And meekly bowed his head and died Tis finished :Yes my race is run Mybattle fought, my victory won. —SOLOMON ENGELHAUPT (1792 1853) McDowell cemetery My children dear assemble here Thy mother's grave to see ! Not long ago Idwelt with you But soon you'll dwell with me. —MARGARET McDOWELL (1793 1819) God my Redeemer lives And ever from the skies Looks down and watches all my dust Tillhe shall bid me rise. —ALEXANDER McDOWELL 2nd (1813 1846) Now Ilay me down to sleep Ipray the Lord my soul to keep IfIshould die before Iwake Ipray the Lord my soul to take. —HARRIET EMELINEMcDOWELL (1847 1851) My Home is above For Iknow that my Redeemer liveth AndinHeaven there is rest Farewell dear Robert, thou hast been a kind Husband, an af- fectionate Son, a dear Father and a good Brother Beloved when living and bemoaned [when dead?] —ROBERT WILLCOX (1822 1852) 328 WILLIAMB. MOORE AND STEPHEN C. DAVIES JULY Friends so dear both far and near Ifyou come this way this marble slab Willtell you where beneathe Ilay. —WILSON MYERS (1832-1856) Is Jesus precious Oh yes Take good care of the children —MARGARET BEAR (1822-1858) Private Co. I2nd Pa. Cavalry Died at Brandy Station, Va. Jan. 18, 1864 He sweetly sleeps whydo we mourn His toils on earth are done His life is hid with Christ in God Tillhis Redeemer comes. -
The Secret Mormon Meetings of 1922
University of Nevada, Reno THE SECRET MORMON MEETINGS OF 1922 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Shannon Caldwell Montez C. Elizabeth Raymond, Ph.D. / Thesis Advisor December 2019 Copyright by Shannon Caldwell Montez 2019 All Rights Reserved UNIVERSITY OF NEVADA RENO THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by SHANNON CALDWELL MONTEZ entitled The Secret Mormon Meetings of 1922 be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS C. Elizabeth Raymond, Ph.D., Advisor Cameron B. Strang, Ph.D., Committee Member Greta E. de Jong, Ph.D., Committee Member Erin E. Stiles, Ph.D., Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School December 2019 i Abstract B. H. Roberts presented information to the leadership of the Church of Jesus Christ of Latter-day Saints in January of 1922 that fundamentally challenged the entire premise of their religious beliefs. New research shows that in addition to church leadership, this information was also presented during the neXt few months to a select group of highly educated Mormon men and women outside of church hierarchy. This group represented many aspects of Mormon belief, different areas of eXpertise, and varying approaches to dealing with challenging information. Their stories create a beautiful tapestry of Mormon life in the transition years from polygamy, frontier life, and resistance to statehood, assimilation, and respectability. A study of the people involved illuminates an important, overlooked, underappreciated, and eXciting period of Mormon history. -
Haunted Narratives: the Afterlife of Gothic Aesthetics in Contemporary Transatlantic Women’S Fiction
HAUNTED NARRATIVES: THE AFTERLIFE OF GOTHIC AESTHETICS IN CONTEMPORARY TRANSATLANTIC WOMEN’S FICTION Jameela F. Dallis A dissertation submitted to the faculty at 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. Chapel Hill 2015 Approved by: Minrose Gwin Shayne A. Legassie James Coleman María DeGuzmán Ruth Salvaggio © 2016 Jameela F. Dallis ALL RIGHTS RESERVED ii ABSTRACT Jameela F. Dallis: Haunted Narratives: The Afterlife of Gothic Aesthetics in Contemporary Transatlantic Women’s Fiction (Under the direction of Minrose Gwin and Shayne A. Legassie) My dissertation examines the afterlife of eighteenth- and nineteenth-century Gothic aesthetics in twentieth and twenty-first century texts by women. Through close readings and attention to aesthetics and conventions that govern the Gothic, I excavate connections across nation, race, and historical period to engage critically with Shirley Jackson’s The Haunting of Hill House, 1959; Angela Carter’s “The Lady of the House of Love,” 1979; Shani Mootoo’s Cereus Blooms at Night, 1996; and Toni Morrison’s Love, 2003. These authors consciously employ such aesthetics to highlight and critique the power of patriarchy and imperialism, the continued exclusion of others and othered ways of knowing, loving, and being, and the consequences of oppressing, ignoring, or rebuking these peoples, realities, and systems of meaning. Such injustices bear evidence to the effects of transatlantic commerce fueled by the slave trade and the appropriation and conquering of lands and peoples that still exert a powerful oppressive force over contemporary era peoples, especially women and social minorities. -
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 Min)
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 min) Directed by Jim Jarmusch Original Music by Neil Young Cinematography by Robby Müller Johnny Depp...William Blake Gary Farmer...Nobody Crispin Glover...Train Fireman John Hurt...John Scholfield Robert Mitchum...John Dickinson Iggy Pop...Salvatore 'Sally' Jenko Gabriel Byrne...Charlie Dickinson Billy Bob Thornton...Big George Drakoulious Alfred Molina...Trading Post Missionary JIM JARMUSCH (Director) (b. James R. Jarmusch, January 22, 1981 Silence of the North, 1978 The Last Waltz, 1978 Coming 1953 in Akron, Ohio) directed 19 films, including 2013 Only Home, 1975 Shampoo, 1972 Memoirs of a Madam, 1970 The Lovers Left Alive, 2009 The Limits of Control, 2005 Broken Strawberry Statement, and 1967 Go!!! (TV Movie). He has also Flowers, 2003 Coffee and Cigarettes, 1999 Ghost Dog: The Way composed original music for 9 films and television shows: 2012 of the Samurai, 1997 Year of the Horse, 1995 Dead Man, 1991 “Interview” (TV Movie), 2011 Neil Young Journeys, 2008 Night on Earth, 1989 Mystery Train, 1986 Down by Law, 1984 CSNY/Déjà Vu, 2006 Neil Young: Heart of Gold, 2003 Stranger Than Paradise, and 1980 Permanent Vacation. He Greendale, 2003 Live at Vicar St., 1997 Year of the Horse, 1995 wrote the screenplays for all his feature films and also had acting Dead Man, and 1980 Where the Buffalo Roam. In addition to his roles in 10 films: 1996 Sling Blade, 1995 Blue in the Face, 1994 musical contributions, Young produced 7 films (some as Bernard Iron Horsemen, 1992 In the Soup, 1990 The Golden Boat, 1989 Shakey): 2011 Neil Young Journeys, 2006 Neil Young: Heart of Leningrad Cowboys Go America, 1988 Candy Mountain, 1987 Gold, 2003 Greendale, 2003 Live at Vicar St., 2000 Neil Young: Helsinki-Naples All Night Long, 1986 Straight to Hell, and 1984 Silver and Gold, 1997 Year of the Horse, and 1984 Solo Trans. -
The Secret Agent
center for contemporary opera “…not a single player was poorly cast. Similarly, the orchestra… performed with polish and sophistication under the direction of Sara Jobin.” —Opera News “ The Center for Contemporary Opera has lovingly produced a show that boasts high production values, accessible music and a compelling story, and the distinct possibility of future productions.” — O p e r a t i C u s “Dispatching Verloc with a portentously placed knife, the secret agent Winnie — a vocally gleaming Amy Burton — shifts into mad-scene mode, condemning the “blood and dirt” left in terrorism’s wake.” — N e w Y o r k t i m e s Michael Dellaira libretto by J . D . M c C l a t c h y www.albanyrecords.com TROY1450/51 albany records u.s. 915 broadway, albany, ny 12207 Amy Burton Scott Bearden tel: 518.436.8814 fax: 518.436.0643 albany records u.k. c o n d u c t o r box 137, kendal, cumbria la8 0xd Sara Jobin, tel: 01539 824008 © 2013 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. i ntroduction each driven by callous selfishness and misdirected idealism, each involved to a different degree, as Conrad writes, in “a blood-stained inanity of so fatuous a kind that it was impossible to fathom its On behalf of the Center for Contemporary Opera, I am delighted to bring you this recording of the origin by any reasonable or even unreasonable process of thought.” premiere performance of The Secret Agent, which took place at the Kaye Playhouse in New York City, Michael Dellaira and J. -
Dead Man, Legal Pluralism and the De-Territorialization of the West
Osgoode Hall Law School of York University Osgoode Digital Commons Articles & Book Chapters Faculty Scholarship 2011 "Passing Through the Mirror": Dead Man, Legal Pluralism and the De-Territorialization of the West Ruth Buchanan Osgoode Hall Law School of York University, [email protected] Source Publication: Law, Culture and the Humanities. Volume 7, Number 2 (2011), p. 289-309. Follow this and additional works at: https://digitalcommons.osgoode.yorku.ca/scholarly_works This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Buchanan, Ruth. ""Passing Through the Mirror": Dead Man, Legal Pluralism and the De-Territorialization of the West." Law, Culture and the Humanities 7.2 (2011): 289-309. This Article is brought to you for free and open access by the Faculty Scholarship at Osgoode Digital Commons. It has been accepted for inclusion in Articles & Book Chapters by an authorized administrator of Osgoode Digital Commons. ‘‘Passing through the Mirror’’: Dead Man, Legal Pluralism and the De-territorialization of the West Ruth M. Buchanan Osgoode Hall Law School,York University Abstract The failures of Western law in its encounter with indigenous legal orders have been well documented, but alternative modes of negotiating the encounter remain under-explored in legal scholarship. The present article addresses this lacuna. It proceeds from the premise that the journey towards a different conceptualization of law might be fruitfully re-routed through the affect-laden realm of embodied experience – the experience of watching the subversive anti- western film Dead Man. Section II explains and develops a Deleuzian approach to law and film which involves thinking about film as ‘‘event.’’ Section III considers Dead Man’s relation to the western genre and its implications for how we think about law’s founding on the frontier. -
American Independent Film Dead Man Production Timeline
English 345: American Independent Film Dead Man Production Timeline Jim Jarmusch on independent film in the mid-1990s: “The whole idea of independent is very perplexing to me. I don't know what it means anymore. It used to be that small films could be made without a lot of money and therefore without as much interference from people who were interested solely in making money off the movie. There's a place for business in cinema. It is, to a large degree, business. Smaller films—which used to be called independent—used to be a place for people to express their ideas, and a lot of the strongest or newest ideas came from them. But, recently, I don't quite understand what it means anymore, because a lot of „independent‟ producers are interested in making a name for themselves—to get money to launch their careers. So, I see people making films for $500,000 with producers and people telling them to change the script, whom to cast and how to cut it and I don't understand what independent is any more. People who are called independent make films for large studios. Miramax—owned by Disney—which is going to release this film in North America is called an independent distribution company or production company. Consequently, I don't know what that word means any more.” “A Neo-Western on Life and Death.” Film International 3:4 (Autumn 1995). Reprinted in The Jim Jarmusch Resource Page. Production Timeline 1990: Jarmusch begins collaborating with novelist and screenwriter Rudy Wurlitzer on Western titled Ghost Dog. -
Filming a Makah Village for Jim Jarmusch' S Dead Man
FILMING A MAKAH VILLAGE FOR JIM JARMUSCH' S DEAD MAN by TODD J. TUBUTIS BA. (honours), Beloit College, 1992 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Anthropology & Sociology We accept this thesis as conforming to the required standard: V THE UNIVERSITY OF BRITISH COLUMBIA July 1998 ©Todd J. Tubutis, 1998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Anthropology & Sociology The University of British Columbia Vancouver, Canada Date 6 August 1998 DE-6 (2/88) ABSTRACT This thesis looks at ethnographic film using Jim Jarmusch's 1996 Dead Man as a "site." Dead Man's penultimate scene portrays a Northwest Coast village using Makah actors and Makah- made set pieces. The production of this scene provides a setting where mainstream American culture, represented by a Hollywood film crew, comes into contact with Makah culture in a collaborative filmmaking effort, making Dead Man a site of cultural negotiation and mediation. By contextualizing Dead Man with earlier films from the Northwest Coast by Edward S. Curtis and Franz Boas, by examining the film's production through the words of the participants, and by incorporating theoretical notions of contact zones, authenticity, and experience, the author gleans an understanding of the contemporary Makah experience of Dead Man. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Z eeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9307873 The meaning and impact of Nathaniel Hawthorne’s narrator doubles Ventura, Mary Kathryn, Ph.D. The Ohio State University, 1992 UMI 300 N. -
Climate Impacts on Agriculture
Climate Impacts on Agriculture David I Gustafson, Ph.D. Senior Fellow Environmental & Ag Policy Modeling Lead Monsanto Company Crystal City, VA 24 February 2012 Outline • Background – Ag in the spotlight • US National Climate Assessment (NCA) – New process for the 2013 NCA report – Impacts on crops and livestock • Comment on a critical policy need Agriculture is in the Global Spotlight ? “Like a nature hike through the Book of Revelations [sic]” – Al Gore, An Inconvenient Truth (the movie) CHAPTER 11 18 The nations were angry; and Your wrath has come. The time has come for judging the dead, and for rewarding Your servants the prophets and Your The time has come … saints and those who reverence Your Name, both small and great – and for destroying those who for destroying those who destroy the earth. … destroy the earth. CHAPTER 16 Then I heard a loud voice from the temple saying to the seven angels, “Go, pour out the seven bowls of God’s wrath on the earth.” 2 The first angel went and poured out his bowl on the land, and ugly and painful sores broke out on the people who had the mark of the beast and … every living thing in worshiped his image. 3 The second angel pouted out his bowl on the the sea died. sea, and it turned into blood like that of a dead man, and every living thing in the sea died. 4 The third angel poured out his bowl on the rivers and springs of water, and they became blood. … 8 The fourth angel poured out his bowl on the sun, and sun was given power to scorch people with fire. -
The Concept of Vengeance in the Book of Revelation in Its Old Testament and Near Eastern Context
Andrews University Digital Commons @ Andrews University Dissertations Graduate Research 1986 The Concept of Vengeance in the Book of Revelation in its Old Testament and Near Eastern Context Joel Nobel Musvosvi Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dissertations Part of the Biblical Studies Commons, Near Eastern Languages and Societies Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Musvosvi, Joel Nobel, "The Concept of Vengeance in the Book of Revelation in its Old Testament and Near Eastern Context" (1986). Dissertations. 103. https://digitalcommons.andrews.edu/dissertations/103 This Dissertation is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.