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Fudge the Elf
1 Fudge The Elf Ken Reid The Laura Maguire collection Published October 2019 All Rights Reserved Sometime in the late nineteen nineties, my daughter Laura, started collecting Fudge books, the creation of the highly individual Ken Reid. The books, the daily strip in 'The Manchester Evening News, had been a part of my childhood. Laura and her brother Adam avidly read the few dog eared volumes I had managed to retain over the years. In 2004 I created a 'Fudge The Elf' website. This brought in many contacts, collectors, individuals trying to find copies of the books, Ken's Son, the illustrator and colourist John Ridgeway, et al. For various reasons I have decided to take the existing website off-line. The PDF faithfully reflects the entire contents of the original website. Should you wish to get in touch with me: [email protected] Best Regards, Peter Maguire, Brussels 2019 2 CONTENTS 4. Ken Reid (1919–1987) 5. Why This Website - Introduction 2004 6. Adventures of Fudge 8. Frolics With Fudge 10. Fudge's Trip To The Moon 12. Fudge And The Dragon 14. Fudge In Bubbleville 16. Fudge In Toffee Town 18. Fudge Turns Detective Savoy Books Editions 20. Fudge And The Dragon 22. Fudge In Bubbleville The Brockhampton Press Ltd 24. The Adventures Of Dilly Duckling Collectors 25. Arthur Gilbert 35. Peter Hansen 36. Anne Wilikinson 37. Les Speakman Colourist And Illustrator 38. John Ridgeway Appendix 39. Ken Reid-The Comic Genius 3 Ken Reid (1919–1987) Ken Reid enjoyed a career as a children's illustrator for more than forty years. -
The Reception and Commemoration of William Speirs Bruce Are, I Suggest, Part
The University of Edinburgh School of Geosciences Institute of Geography A SCOT OF THE ANTARCTIC: THE RECEPTION AND COMMEMORATION OF WILLIAM SPEIRS BRUCE M.Sc. by Research in Geography Innes M. Keighren 12 September 2003 Declaration of originality I hereby declare that this dissertation has been composed by me and is based on my own work. 12 September 2003 ii Abstract 2002–2004 marks the centenary of the Scottish National Antarctic Expedition. Led by the Scots naturalist and oceanographer William Speirs Bruce (1867–1921), the Expedition, a two-year exploration of the Weddell Sea, was an exercise in scientific accumulation, rather than territorial acquisition. Distinct in its focus from that of other expeditions undertaken during the ‘Heroic Age’ of polar exploration, the Scottish National Antarctic Expedition, and Bruce in particular, were subject to a distinct press interpretation. From an examination of contemporary newspaper reports, this thesis traces the popular reception of Bruce—revealing how geographies of reporting and of reading engendered locally particular understandings of him. Inspired, too, by recent work in the history of science outlining the constitutive significance of place, this study considers the influence of certain important spaces—venues of collection, analysis, and display—on the conception, communication, and reception of Bruce’s polar knowledge. Finally, from the perspective afforded by the centenary of his Scottish National Antarctic Expedition, this paper illustrates how space and place have conspired, also, to direct Bruce’s ‘commemorative trajectory’—to define the ways in which, and by whom, Bruce has been remembered since his death. iii Acknowledgements For their advice, assistance, and encouragement during the research and writing of this thesis I should like to thank Michael Bolik (University of Dundee); Margaret Deacon (Southampton Oceanography Centre); Graham Durant (Hunterian Museum); Narve Fulsås (University of Tromsø); Stanley K. -
Colle1ctors' Digest
S PRY PAPER COLLE 1CTORS' DIGEST VOL. 46 No. 551 NOVEMBER 1992 BETTY AGAINST THE SNOBSI 8M u TIH Fri ... d atie ,..,,.,,d I'' II\ thi• IHllt.) - • ..a.... - No, 3, Vol . I ,) PU81. I SH£0 £VER Y TUESDAY, [Wnk End•nll f'~b,.,&ry l&th, 191 1, ONCORPORATING NORMAN SHAW) ROBIN OSBORNE, 84 BELVEDERE ROAD, LONDON SE 19 2HZ PHONE (BETWEEN 11 A.M . • 10 P.M.) 081-771 0541 Hi People, Varied selection of goodies on offer this month:- J. Many loose issues of TRIUMPH in basically very good condition (some staple rust) £3. each. 2. Round volume of TRIUMPH Jan-June 1938 £80. 3. GEM . bound volumes· all unifonn · 581. 620 (29/3 · 27.12.19) £110 621 . 646 (Jan· June 1920) £ 80 647 • 672 (July · Dec 1920) £ 80 4. 2 Volumes of MAGNET uniformly bound:- October 1938 - March 1939 £ 60 April 1939 - September 1939 £ 60 (or the pair for £100) 5. SWIFT - Vol. 7, Nos.1-53 & Vol. 5 Nos.l-52, both bound in single volumes £50 each. Many loose issues also available at £1 each - please enquire. 6. ROBIN - Vol.5, Nos. 1-52, bound in one volume £30. Many loose issues available of this title and other pre-school papers like PLA YHOUR, BIMBO, PIPPIN etc. at 50p each (substantial discounts for quantity), please enquire. 7. EAGLE - many issues of this popular paper. including some complete unbound volumes at the following rates: Vol. 1-10, £2 each, and Vol. 11 and subsequent at £1 each. Please advise requirements. 8. 2000 A.D. -
Bibliography
BIbLIOGRAPHY Arnold, Bruce. “The Yeats Family and Modernism in Ireland.” In The Moderns: The Arts in Ireland from the 1900s to the 1970s, edited by Enrique Juncosa and Christina Kennedy, 24–25. Dublin: Irish Museum of Modern Art, 2010. ———. Jack Yeats. New Haven, Connecticut: Yale University Press, 1998. ———. “An Old Dog for a Hard Road: Synge and Yeats in the Congested Districts.” Times Literary Supplement, December 16, 1994, 12. ———. A Concise History of Irish Art. London: Thames and Hudson, 1969. Arrighi, Gillian. “The circus and modernity: a commitment to the ‘newer’ and ‘the newest’.” Early Popular Visual Culture 10, No. 2 (2012): 169–185. Arscott, Caroline. “Convict Labour: Masking and Interchangeability in Victorian Prison Scenes.” Oxford Art Journal 23, No. 2 (2000): 123–142. Bailey, Peter. Popular Culture and Performance in the Victorian City. Cambridge: Cambridge University Press, 1998. ———. “Introduction: Making Sense of Music Hall.” In Music Hall: The Business of Pleasure, edited by Peter Bailey, vii–xxi. Milton Keynes: Open University Press, 1986. Barber, Fionna. Art in Ireland since 1910. London: Reaktion, 2013. Barrett, Cyril. “Irish Nationalism and Art II, 1900–1970.” Studies: An Irish Quarterly Review 91, No. 363 (2002): 223–238. ———. “Irish Nationalism and Art, 1800–1921.” Studies: An Irish Quarterly Review 64, No. 256 (1975): 393–409. Beaty, Bart. Comics Versus Art. Toronto: University of Toronto Press, 2012. Berger, John. About Looking. London: Bloomsbury, 2015. Blackbeard, Bill. Sherlock Holmes in America. New York: Harry N. Abrams, 1981. © The Author(s), under exclusive license to Springer Nature 263 Switzerland AG 2021 M. Connerty, The Comic Strip Art of Jack B. -
Glasgow Cinema Programmes 1908-1914
Dougan, Andy (2018) The development of the audience for early film in Glasgow before 1914. PhD thesis. https://theses.gla.ac.uk/9088/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The development of the audience for early film in Glasgow before 1914 Andy Dougan Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow May 2018 ©Andy Dougan, May 2018 2 In memory of my father, Andrew Dougan. He encouraged my lifelong love of cinema and many of the happiest hours of my childhood were spent with him at many of the venues written about in this thesis. 3 Abstract This thesis investigates the development of the audience for early cinema in Glasgow. It takes a social-historical approach considering the established scholarship from Allen, Low, Hansen, Kuhn et al, on the development of early cinema audiences, and overlays this with original archival research to provide examples which are specific to Glasgow. -
Read Ebook {PDF EPUB} the Ultimate Book of British Comics by Jon Howells British Comics: a Cultural History
Read Ebook {PDF EPUB} The Ultimate Book of British Comics by Jon Howells British Comics: A Cultural History. The specifically British contribution to the history of comics and cartoons remains under-researched and underappreciated. While there is a growing critical literature on such high-profile figures as Alan Moore, Neil Gaiman, and Grant Morrison, huge swathes of British cartooning history have been neglected by critics, historians, and fans. As James Chapman points out in his informative new study, the “work of Martin Barker and Roger Sabin represents the only sustained academic engagement with comics in Britain… the British comic has never achieved the cultural cachet of the bande dessinee , but nor has it found a popular mythology equivalent to the American superhero tradition.” While Chapman might also have pointed to Paul Gravett and Peter Stanbury’s 2006 book on Great British Comics: Ripping Yarns and Wizard Wheezes , his larger point is a valid one. Not only has “scholarly attention” been “thin on the ground,” fan culture in Britain often evinces a greater interest in second-tier Marvel characters than indigenous creators and titles. The so-called “British invasion” of the 1980s and 1990s is the conspicuous exception precisely because it left its mark on the American mainstream. Both the scope and the scale of British cartooning are worth emphasizing. The medium’s early development was profoundly influenced by the work of satirical print artists such as William Hogarth (1697-1764), James Gillray (1757-1815), and George Cruikshank (1792-1878), as well as by various London-based illustrated magazines of the nineteenth century, such as Punch , the Illustrated London News , and Pictorial Times . -
Look and Learn a History of the Classic Children's Magazine By
Look and Learn A History of the Classic Children's Magazine By Steve Holland Text © Look and Learn Magazine Ltd 2006 First published 2006 in PDF form on www.lookandlearn.com by Look and Learn Magazine Ltd 54 Upper Montagu Street, London W1H 1SL 1 Acknowledgments Compiling the history of Look and Learn would have be an impossible task had it not been for the considerable help and assistance of many people, some directly involved in the magazine itself, some lifetime fans of the magazine and its creators. I am extremely grateful to them all for allowing me to draw on their memories to piece together the complex and entertaining story of the various papers covered in this book. First and foremost I must thank the former staff members of Look and Learn and Fleetway Publications (later IPC Magazines) for making themselves available for long and often rambling interviews, including Bob Bartholomew, Keith Chapman, Doug Church, Philip Gorton, Sue Lamb, Stan Macdonald, Leonard Matthews, Roy MacAdorey, Maggie Meade-King, John Melhuish, Mike Moorcock, Gil Page, Colin Parker, Jack Parker, Frank S. Pepper, Noreen Pleavin, John Sanders and Jim Storrie. My thanks also to Oliver Frey, Wilf Hardy, Wendy Meadway, Roger Payne and Clive Uptton, for detailing their artistic exploits on the magazine. Jenny Marlowe, Ronan Morgan, June Vincent and Beryl Vuolo also deserve thanks for their help filling in details that would otherwise have escaped me. David Abbott and Paul Philips, both of IPC Media, Susan Gardner of the Guild of Aviation Artists and Morva White of The Bible Society were all helpful in locating information and contacts. -
1849-1999 Chapter Four: 1924-1949
A Picture of the Age: 1849-1999 Written by Graham Citrine to celebrate the 150th anniversary of Christ Church Chapter Four: 1924-1949 .We are now entering an age which will be within the experience of a great many of us - a time of our childhood and our youth, and therefore a time, perhaps, of real nostalgia, for these were our ‘Good Old Days’. Again, my apologies if some fondly remembered event is only mentioned briefly or not at all. The 1920’s were a time of real optimism: people really believed that the Great War was a ‘War to end all Wars’. The great powers seemed to have settled their age-old problems and differences. At Locarno in 1924 the western powers agreed to respect their frontiers (though, significantly, Germany did not accept her eastern frontiers). In 1927, the Kellogg- Briand Pact saw an agreement by all signatories never to use war as an instrument of policy. Germany was accepted into the League of Nations as an equal, and the League was seen as a real hope for a peaceful settlement of all quarrels - old enemies seemed to be making a valiant effort to understand other points of view. In the same vein, nearer at home, in 1929 the coming-of-age of the Boy Scout Movement was celebrated with a Jamboree in Arrowe Park, Birkenhead having seen the first Scout Troop in the world being formed at the YMCA in Grange Road. [(My Scout Master, John Dudleston, had been a Patrol Leader in that first troop!] Boys from every country in the world came together and it was believed that if the nations’ youth buried their differences then peace and understanding on an international scale was possible. -
Download and Complete the Most Invasive Paperwork of My Life
EXPOSITION REVIEW 1 EDITORS-IN-CHIEF Lauren Gorski INTERNS Mellinda Hensley Krista Nave EDITOR-AT-LARGE READERS David L. Ulin Lily Caraballo April Dávila FICTION EDITOR Alayna Doyal Jessica June Rowe Joel Larin Anna Lindwasser NONFICTION EDITOR Abigail Mitchell Annlee Ellingson Leslie Ridgeway ‘Aolani Robinson Lauren Welch POETRY EDITOR CD Eskilson Exposition Review is published annually as an STAGE & SCREEN EDITOR independent online journal. Laura Rensing © 2020 EXPERIMENTAL EDITOR Visual Arts Editor All rights reserved. No part of this publication may be reproduced in any form or by any VISUAL ART EDITOR means without the prior written permission of the respective author or artist. Brianna J.L. Smyk DESIGN ASSOCIATE EDITORS Jessica June Rowe Blaine Bolibol Robyn Earhart Dave Gregory Cover Artwork Anya Johnson Joey Aronhalt, Untitled, from the series (There and Lack Thereof: Impermanent Marks), 2019. Archival Sarah Smith Narhi Inkjet Print, 17 x 22 inches Cayce J. Osborne Ramona Pilar Phylise Smith COLOPHON Exposition Review is set in Georgia. Titling is set in Filosofia and accent text is set in Oswald and Copperplate. TABLE OF CONTENTS 2 Contents by Form A Note from the Editors • 4 Fiction Lia Dun Laugh • 10 Brandon French Ariadne • 11 Lois Ann Goossen A Guide to Planting Trees (with Supplemental Notes) • 20 Alexandrine J. Ogundimu Wound • 22 Noelle Rose You, Me, and Yahtzee! • 27 Lucy Verlaque 318 Boulevard • 36 Nonfiction Jack Bastock Audio, Video, Cogito • 40 Katie Daley Scatter • 51 Amanda Fletcher Off the Rails • 54 Lori Yeghiayan Friedman How to Survive a Genocide • 65 Poetry Precious Arinze Baby • 77 Ace Boggess Humiliation • 78 Adesina Brown PA(IN): CONTRACTION AND EXPANSION • 79 Jacob Fowler Panacea • 80 Lukas Ray Hall .223 Remington • 81 Donna Isaac 12 Movements: looking for love da, da, da • 82 Chloe Martinez The Flower Vendors • 86 M. -
Comics and Graphic Novels Cambridge History of The
Comics and Graphic Novels Cambridge History of the Book in Britain, Volume 7: the Twentieth Century and Beyond Mark Nixon Comics – the telling of stories by means of a sequence of pictures and, usually, words – were born in Britain in the late nineteenth century, with Ally Sloper’s Half-Holiday (Gilbert Dalziel, 1884) and subsequent imitators. These publications were a few pages long, unbound, and cheap – and intended for working-class adult readers. During the twentieth century, bound books of picture stories developed in Europe and North America, and by the end of the century had become a significant factor in British publishing and popular culture. However, British comics scholarship has been slow to develop, at least relative to continental European and North American comics scholarship, although specialist magazines such as The Comics Journal, Comics International and Book & Magazine Collector have featured articles on British comics, their publishers and creators. Towards the end of the twentieth century, the work of Martin Barker and Roger Sabin began to shed new light on certain aspects of the history of British comics, a baton now being taken up by a few scholars of British popular culture1, alongside a growing popular literature on British comics2. 1 For a recent overview, see Chapman, James British comics: a cultural history (London, 2011). 2 Perhaps the best example of this is Gravett, Paul and Stanbury, Peter Great British comics (London, 2006). By the beginning of the twentieth century, Harmsworth dominated the comics market they had entered in 1890 with Comic Cuts and Illustrated Chips. Their comics provided the template for the industry, of eight-page, tabloid-sized publications with a mixture of one-panel cartoons, picture strips and text stories, selling at 1/2d. -
8 5 Chicken King
3 3 M O H FRIDAY, JULY 8, M06 PAGE EIckTEEir Avers^e Daily Net Press Run The Weather F or the Week Eiiiided' July 2, I960 Bunny and warm today The annual picnle of the tomorrow, Mghs near 90; mild Grand Court of the Order of Mariners Promote About Town CD Test ^ ' tonight, low In 6 0 a ,/ Amaranth wdll be held Sunday Area Ijlecruiter both stor^ 14,465 ' SWU)ia& Services \viU.be held at 2 p.m. at Buena Vista Park, IS® Manohester’a Civil De I ' lUdnche$ter— A City of Village Charm Wesrt Hartford. Members of fense 'Warning System will • 7 ■ , ; . ■ / • at Teonple Beth Sholorn tonig-ht Marine Coi^w recruiting rep ' / 5 ' / open toiritt at 7:30 and tomomw at 9 a-m. Chapman Court attending are Bretoh-Booth 4 ^ sound {^;aih tom orrow'at 11 (ClaMitied Advertising on Page 11) ^RlGE SEVEN CENTS reminded to bring silver, china, a.m. in a three-minute, stea resentative Samuel H. Hope of VOL. LXXXV, No. 237 (FOURTEEN PAGES—TV SECTION—CONNECTICUT LIFE) MANCHESTER, CONN ) SATURDAY, JULY 9, 1966 and' a box lunch. Dessert and The Jnarriage of llliss Bar,- dy blast. 18 Goeiee Dr. ireoenbly rec.eived Memhera o f World War 1 bara Jean Booth and Joseph a commission \ and was ad Veterans and AuxiliAiy will beverages will be served at 6. All wardens have, been as fairway Lucien Breton, both of Rock vanced to rank of warrant of signed posts at warning-si meet tonight at 7 at the Walter ville, wa.s solemnized Saturday, ficer at a cereimony'. -
Prosthetic Body Parts in Literature and Culture, 1832 to 1908
Prosthetic Body Parts in Literature and Culture, 1832 to 1908 Submitted by Ryan Craig Sweet to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, March 2016. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Ryan Sweet 1 [This page is intentionally left blank.] Ryan Sweet 2 Acknowledgements This thesis was generously funded by the Arts and Humanities Research Council. I am eternally grateful for their support. I also appreciate the support of the other funding bodies, including the British Society for Literature and Science, the Social Sciences and Humanities Research Council of Canada, the Wellcome Trust, and the College of Humanities at the University of Exeter, whose funding has enabled me to discuss work from this project in a variety of stimulating venues. I would like to offer sincere thanks to my supervisors Dr Jason Hall and Dr Richard Noakes, whose astute comments and attention to detail have shaped this thesis into the piece that it is today. Perhaps more so than anyone else, I owe Dr Hall a lot of gratitude for his support. If it was not for his encouragement, interest in my ideas, and commitment to my professional development, I would not have pursued a postgraduate degree in the first place.