Handbills 178T
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Circus Friends Association Collection Finding Aid
Circus Friends Association Collection Finding Aid University of Sheffield - NFCA Contents Poster - 178R472 Business Records - 178H24 412 Maps, Plans and Charts - 178M16 413 Programmes - 178K43 414 Bibliographies and Catalogues - 178J9 564 Proclamations - 178S5 565 Handbills - 178T40 565 Obituaries, Births, Death and Marriage Certificates - 178Q6 585 Newspaper Cuttings and Scrapbooks - 178G21 585 Correspondence - 178F31 602 Photographs and Postcards - 178C108 604 Original Artwork - 178V11 608 Various - 178Z50 622 Monographs, Articles, Manuscripts and Research Material - 178B30633 Films - 178D13 640 Trade and Advertising Material - 178I22 649 Calendars and Almanacs - 178N5 655 1 Poster - 178R47 178R47.1 poster 30 November 1867 Birmingham, Saturday November 30th 1867, Monday 2 December and during the week Cattle and Dog Shows, Miss Adah Isaacs Menken, Paris & Back for £5, Mazeppa’s, equestrian act, Programme of Scenery and incidents, Sarah’s Young Man, Black type on off white background, Printed at the Theatre Royal Printing Office, Birmingham, 253mm x 753mm Circus Friends Association Collection 178R47.2 poster 1838 Madame Albertazzi, Mdlle. H. Elsler, Mr. Ducrow, Double stud of horses, Mr. Van Amburgh, animal trainer Grieve’s New Scenery, Charlemagne or the Fete of the Forest, Black type on off white backgound, W. Wright Printer, Theatre Royal, Drury Lane, 205mm x 335mm Circus Friends Association Collection 178R47.3 poster 19 October 1885 Berlin, Eln Mexikanermanöver, Mr. Charles Ducos, Horaz und Merkur, Mr. A. Wells, equestrian act, C. Godiewsky, clown, Borax, Mlle. Aguimoff, Das 3 fache Reck, gymnastics, Mlle. Anna Ducos, Damen-Jokey-Rennen, Kohinor, Mme. Bradbury, Adgar, 2 Black type on off white background with decorative border, Druck von H. G. -
Archiving Possibilities with the Victorian Freak Show a Dissertat
UNIVERSITY OF CALIFORNIA RIVERSIDE “Freaking” the Archive: Archiving Possibilities With the Victorian Freak Show A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Ann McKenzie Garascia September 2017 Dissertation Committee: Dr. Joseph Childers, Co-Chairperson Dr. Susan Zieger, Co-Chairperson Dr. Robb Hernández Copyright by Ann McKenzie Garascia 2017 The Dissertation of Ann McKenzie Garascia is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS This dissertation has received funding through University of California Riverside’s Dissertation Year Fellowship and the University of California’s Humanities Research Institute’s Dissertation Support Grant. Thank you to the following collections for use of their materials: the Wellcome Library (University College London), Special Collections and University Archives (University of California, Riverside), James C. Hormel LGBTQIA Center (San Francisco Public Library), National Portrait Gallery (London), Houghton Library (Harvard College Library), Montana Historical Society, and Evanion Collection (the British Library.) Thank you to all the members of my dissertation committee for your willingness to work on a project that initially described itself “freakish.” Dr. Hernández, thanks for your energy and sharp critical eye—and for working with a Victorianist! Dr. Zieger, thanks for your keen intellect, unflappable demeanor, and ready support every step of the process. Not least, thanks to my chair, Dr. Childers, for always pushing me to think and write creatively; if it weren’t for you and your Dickens seminar, this dissertation probably wouldn’t exist. Lastly, thank you to Bartola and Maximo, Flora and Martinus, Lalloo and Lala, and Eugen for being demanding and lively subjects. -
EDC/17/0123 Site Address: Northfleet Embankment East, Crete Hall Road
Agenda Item: 006 Reference: EDC/17/0123 Site Address: Northfleet Embankment East, Crete Hall Road, Northfleet. Proposal: Application for the variation of conditions 4, 5 and 19 attached to outline planning permission reference EDC/17/0022, for development of brownfield land to provide up to 21,500 sqm (231,000 sqft) of employment floorspace, comprising use classes B1, B2, B8 and A3, A4, A5 and associated site vehicular access, to amend the Building Heights Parameter Plan to allow the maximum height of buildings on part of the northern parcel to increase from 12 metres to 13.5 metres and to relocate the proposed pedestrian central refuge island crossing on Crete Hall Road. Applicant: Berkeley Modular Ltd Ward: Northfleet North SUMMARY: This application seeks amendments to the original outline planning permission to meet the requirements of a developer who has acquired part of the site (the Northern Parcel) and are seeking to develop it for a modular house building factory. The changes relate to a modest increase to the upper building height parameter to facilitate operational requirements and relocation of an approved pedestrian crossing island to better align it with the detailed layout. The proposed changes are considered to be acceptable in planning terms as they would not introduce any adverse impacts beyond those assessed and mitigated through the original outline permission. In particular the increase to the maximum building height from 12 metres to 13.5 metres should not materially alter the extent of visibility of the proposed development subject to appropriate design at the detailed stage. This has been verified by independent review of the EIA addendum submitted with the application, which satisfactorily concluded that the proposed changes do not introduce any new or different significant environmental effects over and above the original outline permission. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
Małgorzata Bugaj Panoptikum 2019, 21:81-94
Małgorzata Bugaj Panoptikum 2019, 21:81-94. https://doi.org/10.26881/pan.2019.21.05 Małgorzata Bugaj University of Edinburgh “We understand each other, my friend”. The freak show and Victorian medicine in The Elephant Man. Anxieties around the human body are one of the main preoccupations in the cinema of David Lynch. Lynch’s films are littered with grotesque corporealities (such as the monstrous baby in Eraserhead¸1977; or Baron Harkonnen in The Dune, 1984) and those of disabled or crippled characters (the protagonist in the short Amputee; 1973; the one-armed man in Twin Peaks: Fire Walk with Me, 1992). The bodies in his films are often presented as fragmented (literally, cut off from the whole, or figuratively, by using close-ups) or distorted in the eye of the camera (a technique used, for example, in Wild at Heart, 1990, or Inland Empire, 2006). The director frequently highlights human biology, particularly in bodies that are shown to lose control over their physiological functions (vomiting blood in The Alphabet, 1968, or urinating in Blue Velvet, 1986). This interest in characters defined primarily through their abnormal corporeal forms is readily apparent in Lynch’s second feature The Elephant Man (1980) centring on a man severely afflicted with a disfiguring disease1. 5IFGJMN MPPTFMZCBTFEPO4JS'SFEFSJDL5SFWFTNFNPJSThe Elephant Man and Other Reminiscences (1923), revolves around three characters inspired by real- life personas: John Merrick (the titular ‘Elephant Man’ Joseph Carey Merrick, %PDUPS5SFWFT UIFBGPSFNFOUJPOFE4JS'SFEFSJDL5SFWFT and Bytes (Tom Norman, 1860-1930). Accordingly, the story shifts between dif- 1 It is worth noting that the film was released in the wake of a cultural rediscovery of the John Merrick story nearly a century after his death. -
UK Driving Guide
UK Destination Guide 13001300 656 656 601 601 1 www.autoeurope.com.auwww.autoeurope.com.au Contents Contents Page Renting a Car in the UK 3 Rental Vehicle Insurance 4 Driving in the United Kingdom 5-6 FAQs& UK Regions 7 UK Congestion Zones 8 Regions of the United Kingdom London 9-10 Southeast England 11-12 Southwest England 13-14 Eastern England 15-16 The East Midlands 17-18 The West Midlands 19-20 Northwest England 21-22 Yorkshire & the Humber 23-24 Northeast England 25-26 Scotland 27-28 Wales 29-30 Northern Ireland 31-32 Belfast 33-34 Stay Healthy & Stay Safe 35 Money Matters 36 Useful Information 37 13001300 656 656 601 601 2 www.autoeurope.com.auwww.autoeurope.com.au Renting a Car in the UK Class Fuel Capacity Type Transmission Fuel/Air Cond. M = Mini 0.8 - 1.0 B = 2 Door M = Manual R = Yes E = Economy 1.0 - 1.4 D = 4 Door A = Automatic N = No C = Compact 1.2 - 1.6 C = 2/4 door N = Manual 4WD D = Diesel Air F = Full size 2.0 - 3.2 L = Limousine C = Manual AWD Q = Diesel No Air P = Premium 2.0 - 4.2 S = Sports Car B = Auto 4WD H = Hybrid Air L = Luxury 2.0 - 4.2 T = Convertible D = Auto AWD I = Hybrid No Air X = Special 1.2 - 3.0 J = All Terrain Examples : E = Electric Air R= Recreational ECMN: E = Economy C = Electric No Air F = 4 Wheel Drive C = 2 or 4 door M = Manual X = Special N = No Air con K = Commercial Van/Truck FDAR : F = Full Size P = Ute D = 4 Door A = Automatic X = Special R = Air con E = Executive How do I figure out which car is right for me? There are plenty of car rental options to choose from depending on your needs. -
Whats in It for Blackpool
__________________________________________________________________________ Lancashire Record Office: What’s in it for Blackpool? Contents Lancashire Record Office Who we are and what we do……………………… 2 Information for planning a ………………………... 3-4 Online access and contact details……………...... 5 Introduction to this guide ……………............................ 6 Maps …………………….…………..…………………….... 7-9 Aerial photographs ………………………………………. 9 Photographs and illustrations ..………………………… 10 Blackpool archive collections Blackpool Collections…………………………..... 11 Blackpool Library Collection ……………………... 12 Smaller collections………………………………… 11 Local Businesses and Organisations Business records …………..…..………………...... 16 Clubs and Societies .………………..…………….. 17 Trade Unions …………..…..…………………….... 18 Official Records Local Government Lancashire County Council ……………………... 19 Blackpool County Borough Council ..………….. 20-22 Urban District Councils …………………………... 23 Rural District Councils …………………………... 23 Parish and Town Councils ……………………… . 23 Electoral registers .………………………………………... 24-25 Courts Quarter Sessions ……………………………….... 26-27 Petty Sessions and Magistrates ………………... 28 Coroners ………………………………………….. 28 Police …………………………………………………….... 29 Water Board ……………………………………………..... 29 Probate …………………………………..………………... 30 Education ………………………………………………..... 31-34 Hospitals……. ……….………………………………….... 35-36 Poor Law ………….………………………………………. 37 1910 Finance Act records.............................................. 38 Insurance Committees.................................................. -
Emerging Producers Development Programme Current and Past Participants
Emerging Producers Development Programme current and past participants 2016 Almudena Adalia Puppetry / physical theatre Almudena loves strongly visual theatre with a passion. She has worked with The Lion King, Blind Summit, Little Soldier, Arcola Theatre, Dotted Line Theatre and Told by an Idiot and produced and directed puppetry for the Little Angel Theatre. Bethan Highgate-Betts Multidiscipline Bethan is a freelance producer and maker from the South West. Since graduating from Falmouth University in 2013 she has forged a successful creative career and worked with many talented and inspiring organisations. She particularly likes to work within the realms of live art and unusual performances. Bethany West Multidiscipline Bethany West is a Bristol-based independent producer who currently works with MAYK, Bristol Old Vic Ferment, Still House and Propolis Theatre. She is particularly interested in contemporary theatre and dance, live art and site-specific performance, and work with an emphasis on outreach or audience development. Christabel Holmes Multidiscipline Christabel is a freelance theatre producer based in Bristol and London. Working predominantly on fringe and festival projects, she is passionate about the development of new and inventive contemporary work. She has a strong interest in theatre that is socially interrogative but, above all, she loves engaging human stories. Daisy Hale Being dyslexic, Daisy has often relied on visual language as opposed to the written. She is fascinated by the use of languages without borders in theatre, whether that be in a design concept or in physical body language, this is what speaks to her the most. Florent Trioux Dance Florent has been working in administration, production and development for independent companies and cultural organisations such as Cie Olivier Dubois, Centre Chorégraphique National de Roubaix and Cannes Lions Festival of Creativity. -
Pathways to Just, Equitable and Sustainable Trade and Investment Regimes
Schulich School of Law, Dalhousie University Schulich Law Scholars Reports & Public Policy Documents Faculty Scholarship 7-2021 Pathways to Just, Equitable and Sustainable Trade and Investment Regimes Tomaso Ferrando University of Antwerp, Belgium Nicolas Perrone University of Andres Bello, Chile Olabisi D. Akinkugbe Dalhousie University Schulich School of Law Kangping Du SISU, China Follow this and additional works at: https://digitalcommons.schulichlaw.dal.ca/reports Part of the Business Organizations Law Commons, Environmental Law Commons, Law and Gender Commons, and the Law and Society Commons Recommended Citation Tomaso Ferrando et al, "Pathways to Just, Equitable and Sustainable Trade and Investment Regimes" (Fairtrade Germany and Fairtrade Australia, 2021). This Report is brought to you for free and open access by the Faculty Scholarship at Schulich Law Scholars. It has been accepted for inclusion in Reports & Public Policy Documents by an authorized administrator of Schulich Law Scholars. For more information, please contact [email protected]. 1 Pathways to Just, Equitable and Sustainable Trade and Investment Regimes Authors: Dr. Tomaso Ferrando (University of Antwerp, Belgium) Dr. Nicolas Perrone (University Andres Bello, Chile) Dr. Olabisi Akinkugbe (Dalhouise University, Canada) Dr. Kangping Du (SISU, China) This study was commissioned by the Fairtrade Germany and Fairtrade Austria. The contents of this document are the sole responsibility of the authors and can under no circumstances be regarded as reflecting the position of these organisations. To get in touch with the authors, please write to Tomaso Ferrando at [email protected]. To get in touch with the commissioning organizations, please write to Peter Möhringer at [email protected] Electronic copy available at: https://ssrn.com/abstract=3895640 2 Outline Summary of content and recommendations ........................................................................................ -
Upbeat Summer 2012
The Magazine for the Royal College of Music I Summer 2012 marks the spot Exploring Exhibition Road RCM Upbeat Magazine - June-Summer 2012.indd 2 13/06/2012 15:49 What’s inside... Welcome to upbeat... Anyone who’s visited the RCM recently can’t have failed to notice the transformation to Exhibition Road. After two years of building works it was officially opened by Boris Johnson Contents in February and marks the beginning of an exciting new chapter for the road and the institutions that line it. 4 In the news The original idea for this cultural heartland grew out of Prince Albert’s vision and the Great Updating you on recent RCM Exhibition of 1851 and in this issue we talk to the Chief Exec of Exhibition Road Cultural activities including the President’s Group Paul Cutts to find out what it means to be part of such an exciting cultural quarter visit and the RCM’s participation today. The RCM has many special relationships with our Exhibition Road neighbours which in the Jubilee celebrations have resulted in countless opportunities for RCM performers and composers. On page 12 we find out about the College’s long standing relationship with theRoyal Albert Hall and 9 The Britten Theatre 25th its latest incarnation as the West London hub. Outgoing SA President Charles Bradley Anniversary News also gives us a glimpse into his working relationship with student bodies at the RCA and The latest events to mark the Imperial College and how that enriches College life. anniversary of this much loved space As usual Upbeat is also packed full with news from around the College, so if you want to find out which RCM professor recently featured in the BBC seriesMaestro at the Opera then read on! 10 All about Exhibition Road Paul Cutts explains what it means We’re always keen to hear from students past and present, so if you have anything you’d like to be part of such an exciting us to feature in the next issue of Upbeat, send your news and pictures to [email protected] cultural quarter by 17 September. -
City Branding: Part 2: Observation Towers Worldwide Architectural Icons Make Cities Famous
City Branding: Part 2: Observation Towers Worldwide Architectural Icons Make Cities Famous What’s Your City’s Claim to Fame? By Jeff Coy, ISHC Paris was the world’s most-visited city in 2010 with 15.1 million international arrivals, according to the World Tourism Organization, followed by London and New York City. What’s Paris got that your city hasn’t got? Is it the nickname the City of Love? Is it the slogan Liberty Started Here or the idea that Life is an Art with images of famous artists like Monet, Modigliani, Dali, da Vinci, Picasso, Braque and Klee? Is it the Cole Porter song, I Love Paris, sung by Frank Sinatra? Is it the movie American in Paris? Is it the fact that Paris has numerous architectural icons that sum up the city’s identity and image --- the Eiffel Tower, Arch of Triumph, Notre Dame Cathedral, Moulin Rouge and Palace of Versailles? Do cities need icons, songs, slogans and nicknames to become famous? Or do famous cities simply attract more attention from architects, artists, wordsmiths and ad agencies? Certainly, having an architectural icon, such as the Eiffel Tower, built in 1889, put Paris on the world map. But all these other things were added to make the identity and image. As a result, international tourists spent $46.3 billion in France in 2010. What’s your city’s claim to fame? Does it have an architectural icon? World’s Most Famous City Icons Beyond nicknames, slogans and songs, some cities are fortunate to have an architectural icon that is immediately recognized by almost everyone worldwide. -
The Historical Articulation of the Disabled Body in the Archive
Old Dominion University ODU Digital Commons English Theses & Dissertations English Spring 2019 Speaking for the Grotesques: The Historical Articulation of the Disabled Body in the Archive Violet Marie Strawderman Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/english_etds Part of the Critical and Cultural Studies Commons, Disability Studies Commons, and the English Language and Literature Commons Recommended Citation Strawderman, Violet M.. "Speaking for the Grotesques: The Historical Articulation of the Disabled Body in the Archive" (2019). Master of Arts (MA), thesis, English, Old Dominion University, DOI: 10.25777/ 3qzd-0r71 https://digitalcommons.odu.edu/english_etds/80 This Thesis is brought to you for free and open access by the English at ODU Digital Commons. It has been accepted for inclusion in English Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. SPEAKING FOR THE GROTESQUES: THE HISTORICAL ARTICULATION OF THE DISABLED BODY IN THE ARCHIVE by Violet Marie Strawderman B.A. May 2016, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS ENGLISH OLD DOMINION UNIVERSITY May 2019 Approved by: Drew Lopenzina (Director) Ruth Osorio (Member) Elizabeth J. Vincelette (Member) ABSTRACT SPEAKING FOR THE GROTESQUES: THE HISTORICAL ARTICULATION OF THE DISABLED BODY IN THE ARCHIVE Violet Marie Strawderman Old Dominion University, 2019 Director: Dr. Drew Lopenzina This project examines the ways in which the disabled body is constructed and produced in larger society, via the creation of and interaction with (and through) the archive.