Tomahawks and Old Lace
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Max Ginsburg at the Salmagundi Club by RAYMOND J
Raleigh on Film; Bethune on Theatre; Behrens on Music; Seckel on the Cultural Scene; Critique: Max Ginsburg; Lille on René Blum; Wersal ‘Speaks Out’ on Art; Trevens on Dance Styles; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 28 No. 2 September/October 2011 Max Ginsburg at The Salmagundi Club By RAYMOND J. STEINER vening ‘social comment’ — “Caretak- JUST WHEN I begin to despair about ers”, for example, or “Theresa Study” the waning quality of American art, — mostly he chooses to depict them in along comes The Salmagundi Club extremities — “War Pieta”, “The Beg- to raise me out of my doldrums and gar”, “Blind Beggar”. His images have lighten my spirits with a spectacular an almost blinding clarity, a “there- retrospective showing of Max Gins- ness” that fairly overwhelms the burg’s paintings*. Sixty-plus works viewer. Whether it be a single visage — early as well as late, illustrations or a throng of humanity captured en as well as paintings — comprise the masse, Ginsburg penetrates into the show and one would be hard-pressed very essence of his subject matter — to find a single work unworthy of what the Germans refer to as the ding Ginsburg’s masterful skill at classical an sich, the very ur-ground of a thing representation. To be sure, the Sal- — to turn it “inside-out”, so to speak, magundi has a long history of exhib- so that there can be no mistaking his iting world-class art, but Ginsburg’s vision or intent. It is to a Ginsburg work is something a bit special. -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. 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 copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 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. Accessing■i the World's UMI Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 882462 James Wright’s poetry of intimacy Terman, Philip S., Ph.D. The Ohio State University, 1988 Copyright ©1988 by Terman, Philip S. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, M I 48106 JAMES WRIGHT'S POETRY OF INTIMACY DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Philip S. -
A Cousin's Conspiracy
1 A COUSIN’S CONSPIRACY OR A BOY’S STRUGGLE FOR AN INHERITANCE BY HORATIO ALGER, Jr. Author of “Herbert Carter’s Legacy,” “Young Salesman,” “Paul the Peddler,” “Phil the Fiddler” Made in U. S. A. M. A. DONOHUE & COMPANY CHICAGO :: NEW YORK “Saving the Indian boy from drowning.” (Page 102) CHAPTER I IN A LONELY CABIN On the edge of a prairie, in western Iowa, thirty years ago, stood a cabin, covering quite a little ground, but only one story high. It was humble enough, but not more so than the early homes of some who have become great. The furniture was limited to articles of prime necessity. There was a stove, a table, three chairs, a row of shelves containing a few articles of crockery and tinware, and a bed in the far corner of the room, on which 2 rested a man with ragged gray beard and hair, a face long and thin, and coal-black eyes. It was evident he was sick unto death. His parchment-colored skin was wrinkled; from time to time he coughed so violently as to rack his slight frame, and his hand, thin and wrinkled, as it rested on the quilt that covered him, shook as with palsy. It was hard to tell how old the man was. He looked over seventy, but there were indications that he had aged prematurely. There was one other person in the room whose appearance contrasted strongly with that of the old man—a boy of sixteen, with brown hair, ruddy cheeks, hazel eyes, an attractive yet firm and resolute face, and an appearance of manliness and self-reliance. -
Report to the U.S. Congress for the Year Ending December 31, 2016
Report to the U.S. Congress for the Year Ending December 31, 2016 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage August 15, 2017 Dr. Carla Hayden The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Hayden: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (P.L. 110-336), I submit to the U.S. Congress the 2016 Report of the National Film Preservation Foundation. Americans have been making films for more than 120 years, but it is only in the last 30 that we have rallied to save those images. In 1996, Congress created the NFPF to help archives, libraries, and museums to rescue this history and share it with the public. Thanks to federal funding secured through the Library of Congress, entertainment industry and foundation support, and the unwaver- ing dedication of preservationists, there is much good news to report. As of 2016, the NFPF programs have preserved more than 2,290 motion pictures—newsreels, actualities, cartoons, silent-era productions, avant-garde films, home movies, and other independent works that might otherwise have faded from public memory. Tremendous credit is due to the 284 public institutions that have participated in our programs to save culturally significant motion pic- tures. Once copied to film stock and safely archived, the works begin a new life through teaching, exhibition, broadcast, DVD, and most especially, the Internet. With international partners, the NFPF has helped archives in the United States bring home 240 early American films that had not been seen in decades. -
Presidential Documents
Weekly Compilation of Presidential Documents Monday, November 11, 1996 Volume 32ÐNumber 45 Pages 2265±2357 1 VerDate 28-OCT-97 13:32 Nov 05, 1997 Jkt 010199 PO 00000 Frm 00001 Fmt 1249 Sfmt 1249 W:\DISC\P45NO4.000 p45no4 Contents Addresses and Remarks Executive OrdersÐContinued See also Resignations and Retirements Amending Executive Order 12015, Relating to Arkansas, Little RockÐ2288, 2343 Competitive Appointments of Students California, Santa BarbaraÐ2267 Who Have Completed Approved Career- Related Work Study ProgramsÐ2355 Florida Amendments to Executive Order 12992, TampaÐ2296 Expanding and Changing the Name of the West Palm BeachÐ2300 President's Council on Counter-NarcoticsÐ Iowa, Cedar RapidsÐ2328 2349 Kentucky, LexingtonÐ2324 Louisiana, New OrleansÐ2293 Interviews With the News Media Maine, BangorÐ2312 Exchange with reporters in the Cross Halls on Massachusetts, SpringfieldÐ2308 the State FloorÐ2353 New Hampshire, ManchesterÐ2317 Proclamations New Jersey, Union TownshipÐ2305 New Mexico, Las CrucesÐ2278 To Extend Nondiscriminatory Treatment (Most-Favored-Nation Treatment) to the Ohio, ClevelandÐ2320 Products of RomaniaÐ2355 Radio addressÐ2282 Veterans DayÐ2266 South Dakota, Sioux FallsÐ2334 Texas Resignations and Retirements El PasoÐ2274 Secretary of State Warren ChristopherÐ2353 San AntonioÐ2283 Statements by the President Victory celebrations Little Rock, ArkansasÐ2343 Russia, heart bypass surgery of President National Building MuseumÐ2350 Boris YeltsinÐ2342 United Auto Workers and General Motors, White HouseÐ2348 tentative agreementÐ2293 Communications to Congress Supplementary Materials Iraq, letterÐ2339 Acts approved by the PresidentÐ2357 Prevention of importation of weapons of mass Checklist of White House press releasesÐ destruction, letterÐ2346 2356 Digest of other White House Executive Orders announcementsÐ2355 Administration of the Midway IslandsÐ2265 Nominations submitted to the SenateÐ2356 WEEKLY COMPILATION OF regulations prescribed by the Administrative Committee of the Federal Register, approved by the President (37 FR 23607; 1 CFR Part 10). -
Preacher's Magazine Volume 23 Number 02 D
Olivet Nazarene University Digital Commons @ Olivet Preacher's Magazine Church of the Nazarene 3-1-1948 Preacher's Magazine Volume 23 Number 02 D. Shelby Corlett E( ditor) Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/cotn_pm Part of the Biblical Studies Commons, Christian Denominations and Sects Commons, International and Intercultural Communication Commons, Liturgy and Worship Commons, Missions and World Christianity Commons, and the Practical Theology Commons Recommended Citation Corlett, D. Shelby (Editor), "Preacher's Magazine Volume 23 Number 02" (1948). Preacher's Magazine. 236. https://digitalcommons.olivet.edu/cotn_pm/236 This is brought to you for free and open access by the Church of the Nazarene at Digital Commons @ Olivet. It has been accepted for inclusion in Preacher's Magazine by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. March-April, 1948 Because He Lives I Shall Live Also I know that my Redeemer lives— What joy the blest assurance gives! He lives, He lives, who once was dead; He lives, my everlasting Head! He lives, to bless me with His love; He lives, to plead for me above; He lives, my hungry soul to feed; He lives, to help in time of need. He lives, and grants me daily breath; He lives, and I shall conquer death; He lives, my mansion to prepare; He lives, to bring me safely there. He lives, all glory to His Name; He lives, my Saviour, still the same; What joy the blest assurance gives— I know that my Redeemer lives! (from an old Methodist Hymnal) The Preacher's M agazine Volum e 23 M arch-April, 1948 Number 2 CONTENTS Because He Lives I Shall Live Also (poem) front page The Spirit of the Minister, D. -
Lost Silent Feature Films
List of 7200 Lost U.S. Silent Feature Films 1912-29 (last updated 11/16/16) Please note that this compilation is a work in progress, and updates will be posted here regularly. Each listing contains a hyperlink to its entry in our searchable database which features additional information on each title. The database lists approximately 11,000 silent features of four reels or more, and includes both lost films – 7200 as identified here – and approximately 3800 surviving titles of one reel or more. A film in which only a fragment, trailer, outtakes or stills survive is listed as a lost film, however “incomplete” films in which at least one full reel survives are not listed as lost. Please direct any questions or report any errors/suggested changes to Steve Leggett at [email protected] $1,000 Reward (1923) Adam And Evil (1927) $30,000 (1920) Adele (1919) $5,000 Reward (1918) Adopted Son, The (1917) $5,000,000 Counterfeiting Plot, The (1914) Adorable Deceiver , The (1926) 1915 World's Championship Series (1915) Adorable Savage, The (1920) 2 Girls Wanted (1927) Adventure In Hearts, An (1919) 23 1/2 Hours' Leave (1919) Adventure Shop, The (1919) 30 Below Zero (1926) Adventure (1925) 39 East (1920) Adventurer, The (1917) 40-Horse Hawkins (1924) Adventurer, The (1920) 40th Door, The (1924) Adventurer, The (1928) 45 Calibre War (1929) Adventures Of A Boy Scout, The (1915) 813 (1920) Adventures Of Buffalo Bill, The (1917) Abandonment, The (1916) Adventures Of Carol, The (1917) Abie's Imported Bride (1925) Adventures Of Kathlyn, The (1916) Ableminded Lady, -
Report to the U. S. Congress for the Year Ending December 31, 2010
Report to the U.S. Congress for the Year Ending December 31, 2010 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 14, 2011 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (Public Law 110-336), I submit to the U.S. Congress the 2010 Report of the National Film Preservation Foundation. Twelve years have passed since the NFPF gave its first film preservation grant, and it is tremendously heartening to see how far we have come. At that time, only the largest institutions had the money and know-how to preserve their film collections. Now, thanks to the federal funding secured by the Library of Congress and resources contributed by the entertainment industry, we have broadened the playing field and enabled 217 archives, libraries, and museums across 48 states to step up to the plate. These efforts have rescued 1,706 films that might otherwise have been lost—newsreels, docu- mentaries, silent-era features, avant-garde films, home movies, industrials, and independent productions that record our history and culture. Films preserved through the NFPF programs are used widely in education and reach audiences everywhere through exhibition, television, video, and the Internet. Repatriation is the newest film preservation frontier. In 2009, I reported the beginnings of a ground- breaking collaboration to preserve and make available American silent-era films discovered at the New Zealand Film Archive. -
The Amazing Marriage
The Amazing Marriage George Meredith The Amazing Marriage Table of Contents The Amazing Marriage.............................................................................................................................................1 George Meredith............................................................................................................................................1 CHAPTER I. ENTER DAME GOSSIP AS CHORUS.................................................................................1 CHAPTER II. MISTRESS GOSSIP TELLS OF THE ELOPEMENT OF THE COUNTESS OF CRESSETT WITH THE OLD BUCCANEER, AND OF CHARLES DUMP THE POSTILLION CONDUCTING THEM, AND OF A GREAT COUNTY FAMILY...........................................................7 CHAPTER III. CONTINUATION OF THE INTRODUCTORY MEANDERINGS OF DAME GOSSIP, TOGETHER WITH HER SUDDEN EXTINCTION.................................................................11 CHAPTER IV. MORNING AND FAREWELL TO AN OLD HOME......................................................14 CHAPTER V. A MOUNTAIN WALK IN MIST AND SUNSHINE.........................................................19 CHAPTER VI. THE NATURAL PHILOSOPHER....................................................................................25 CHAPTER VII. THE LADY'S LETTER....................................................................................................31 CHAPTER VIII. OF THE ENCOUNTER OF TWO STRANGE YOUNG MEN AND THEIR CONSORTING: IN WHICH THE MALE READER IS REQUESTED TO BEAR IN MIND WHAT WILD CREATURE HE WAS -
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. -
Jolly Fellows Stott, Richard
Jolly Fellows Stott, Richard Published by Johns Hopkins University Press Stott, Richard. Jolly Fellows: Male Milieus in Nineteenth-Century America. Johns Hopkins University Press, 2009. Project MUSE. doi:10.1353/book.3440. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/3440 [ Access provided at 28 Sep 2021 22:09 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Jolly Fellows gender relations in the american experience Joan E. Cashin and Ronald G. Walters, Series Editors Jolly Fellows Male Milieus in Nineteenth-Century America D richard stott The Johns Hopkins University Press Baltimore © 2009 The Johns Hopkins University Press All rights reserved. Published 2009 Printed in the United States of America on acid-free paper 246897531 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Stott, Richard Briggs. Jolly fellows : male milieus in nineteenth-century America / Richard Stott. p. cm. Includes bibliographical references and index. isbn-13: 978-0-8018-9137-3 (hardcover : alk. paper) isbn-10: 0-8018-9137-x (hardcover : alk. paper) 1. Men—United States—History—19th century. 2. Men—Psychology— History—19th century. 3. Masculinity—United States—History—19th century. 4. Violence in men—United States. I. Title. hq1090.3.s76 2009 305.38'96920907309034—dc22 2008044003 A catalog record for this book is available from the British Library. Special discounts are available for bulk purchases of this book. For more information, please contact Special Sales at 410-516-6936 or [email protected]. -
Report to the U. S. Congress for the Year Ending December 31, 2012
Report to the U.S. Congress for the Year Ending December 31, 2012 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 15, 2013 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (P.L. 110-336), I submit to the U.S. Congress the 2012 Report of the National Film Preservation Foundation. In 1996, Congress created the NFPF to rally cultural institutions to save America’s history on film before it was too late. Now, thanks to federal funding secured through the Library of Congress, con- tributions from the entertainment industry, and the sheer determination of preservationists, there is much progress to report. As of 2012, the NFPF grant programs have empowered more than 250 archives, libraries, and muse- ums across all 50 states to save films documenting our life and culture. Working together, we have rescued 1,975 newsreels, documentaries, cartoons, silent-era works, avant-garde films, home movies, and other independent productions that might otherwise have been lost. These films are widely used in teaching and reach audiences everywhere through exhibition, television, DVD, and the Internet. Archives abroad are also indispensable partners in preserving America’s film heritage. Recent collabo- rations with Australia and New Zealand brought home 184 early American films that had not been seen in the United States in decades, including lost treasures by John Ford and Mabel Normand.