Southwest Books of the Year Complete List
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
El Paso and the Twelve Travelers
Monumental Discourses: Sculpting Juan de Oñate from the Collected Memories of the American Southwest Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV – Sprach- und Literaturwissenschaften – der Universität Regensburg wieder vorgelegt von Juliane Schwarz-Bierschenk aus Freudenstadt Freiburg, Juni 2014 Erstgutachter: Prof. Dr. Udo Hebel Zweitgutachter: Prof. Dr. Volker Depkat CONTENTS PROLOGUE I PROSPECT 2 II CONCEPTS FOR READING THE SOUTHWEST: MEMORY, SPATIALITY, SIGNIFICATION 7 II.1 CULTURE: TIME (MEMORY) 8 II.1.1 MEMORY IN AMERICAN STUDIES 9 II.2 CULTURE: SPATIALITY (LANDSCAPE) 13 II.2.1 SPATIALITY IN AMERICAN STUDIES 14 II.3 CULTURE: SIGNIFICATION (LANDSCAPE AS TEXT) 16 II.4 CONCEPTUAL CONVERGENCE: THE SPATIAL TURN 18 III.1 UNITS OF INVESTIGATION: PLACE – SPACE – LANDSCAPE III.1.1 PLACE 21 III.1.2 SPACE 22 III.1.3 LANDSCAPE 23 III.2 EMPLACEMENT AND EMPLOTMENT 25 III.3 UNITS OF INVESTIGATION: SITE – MONUMENT – LANDSCAPE III.3.1 SITES OF MEMORY 27 III.3.2 MONUMENTS 30 III.3.3 LANDSCAPES OF MEMORY 32 IV SPATIALIZING AMERICAN MEMORIES: FRONTIERS, BORDERS, BORDERLANDS 34 IV.1 LANDSCAPES OF MEMORY I: THE LAND OF ENCHANTMENT 39 IV.1.1 THE TRI-ETHNIC MYTH 41 IV.2 LANDSCAPES OF MEMORY II: HOMELANDS 43 IV.2.1 HISPANO HOMELAND 44 IV.2.2 CHICANO AZTLÁN 46 IV.3 LANDSCAPES OF MEMORY III: BORDER-LANDS 48 V FROM THE SOUTHWEST TO THE BORDERLANDS: LANDSCAPES OF AMERICAN MEMORIES 52 MONOLOGUE: EL PASO AND THE TWELVE TRAVELERS 57 I COMING TO TERMS WITH EL PASO 60 I.1 PLANNING ‘THE CITY OF THE NEW OLD WEST’ 61 I.2 FOUNDATIONAL -
Ranching Catalogue
Catalogue Ten –Part Four THE RANCHING CATALOGUE VOLUME TWO D-G Dorothy Sloan – Rare Books box 4825 ◆ austin, texas 78765-4825 Dorothy Sloan-Rare Books, Inc. Box 4825, Austin, Texas 78765-4825 Phone: (512) 477-8442 Fax: (512) 477-8602 Email: [email protected] www.sloanrarebooks.com All items are guaranteed to be in the described condition, authentic, and of clear title, and may be returned within two weeks for any reason. Purchases are shipped at custom- er’s expense. New customers are asked to provide payment with order, or to supply appropriate references. Institutions may receive deferred billing upon request. Residents of Texas will be charged appropriate state sales tax. Texas dealers must have a tax certificate on file. Catalogue edited by Dorothy Sloan and Jasmine Star Catalogue preparation assisted by Christine Gilbert, Manola de la Madrid (of the Autry Museum of Western Heritage), Peter L. Oliver, Aaron Russell, Anthony V. Sloan, Jason Star, Skye Thomsen & many others Typesetting by Aaron Russell Offset lithography by David Holman at Wind River Press Letterpress cover and book design by Bradley Hutchinson at Digital Letterpress Photography by Peter Oliver and Third Eye Photography INTRODUCTION here is a general belief that trail driving of cattle over long distances to market had its Tstart in Texas of post-Civil War days, when Tejanos were long on longhorns and short on cash, except for the worthless Confederate article. Like so many well-entrenched, traditional as- sumptions, this one is unwarranted. J. Evetts Haley, in editing one of the extremely rare accounts of the cattle drives to Califor- nia which preceded the Texas-to-Kansas experiment by a decade and a half, slapped the blame for this misunderstanding squarely on the writings of Emerson Hough. -
Style Sheet for Aztlán: a Journal of Chicano Studies
Style Sheet for Aztlán: A Journal of Chicano Studies Articles submitted to Aztlán are accepted with the understanding that the author will agree to all style changes made by the copyeditor unless the changes drastically alter the author’s meaning. This style sheet is intended for use with articles written in English. Much of it also applies to those written in Spanish, but authors planning to submit Spanish-language texts should check with the editors for special instructions. 1. Reference Books Aztlán bases its style on the Chicago Manual of Style, 15th edition, with some modifications. Spelling follows Merriam-Webster’s Collegiate Dictionary, 11th edition. This sheet provides a guide to a number of style questions that come up frequently in Aztlán. 2. Titles and Subheads 2a. Article titles No endnotes are allowed on titles. Acknowledgments, information about the title or epigraph, or other general information about an article should go in an unnumbered note at the beginning of the endnotes (see section 12). 2b. Subheads Topical subheads should be used to break up the text at logical points. In general, Aztlán does not use more than two levels of subheads. Most articles have only one level. Authors should make the hierarchy of subheads clear by using large, bold, and/or italic type to differentiate levels of subheads. For example, level-1 and level-2 subheads might look like this: Ethnocentrism and Imperialism in the Imperial Valley Social and Spatial Marginalization of Latinos Do not set subheads in all caps. Do not number subheads. No endnotes are allowed on subheads. -
The American West C1835-C1895
Ecclesfield School History Department The American West c1835-c1895 History GCSE (9-1) Revision Booklet This topic is tested on Paper 2, with the Elizabeth topic The exam lasts for 1 hour and 45 minutes There are 32 marks for American West (Section A) You should spend 50 minutes on this section Paper 2 1h45: American West and Elizabeth (8th June, PM) Name:________________________ History Teacher: ________________ 1 The American West, c1835-c1895 What do I need to know for this topic? Key Details Red Amber Green topic (Need to (Nearly (Nailed revise a there) it) lot) • Plains Indians: beliefs and way of life (survival, land and war) • The Permanent Indian Frontier (Indian Removal Act 1830) and the Indian Appropriations Act (1851) • Migration: Oregon Trail (1836 onwards), California Gold Rush (1849) • Migration: Donner Party and Mormons (1846-7) • The development and problems of white settlement farming • Reasons for conflict and tension between settlers and Indians – the Fort Laramie 62 Treaty (1851) - The early settlement of the West, of the settlement early The • Problems of lawlessness and attempts to tackle this 1. 1. c1835 • Significance of the Civil War and post-war reconstruction (Homestead Act 1862, Pacific Railroad Act 1862, First Transcontinental Railroad 1869) • Homesteaders’ solutions to problems: new technology, the Timber Culture Act 1873 and spread of the railroad • Continued problems of law and order • The cattle industry (Iliff, McCoy, 76 - Goodnight, the significance of Abilene) • The impact of changes in ranching -
Palm Springs Art Museum
Palm Springs Art Museum 1. Agnes Pelton American, born Germany, 1881-1961 Between Storms, Edom Hill, 1937 oil on canvas 14 x 20 inches Museum purchase with funds provided by the General Acquisition Fund for Western Art 2-1995 2. John W. Hilton American, 1904-1983 A Touch of Spring - Indio Mountain, 1949 oil on canvas 30 x 40 inches Gift from the Christiansen Collection of 20th Century California Art 2-2005 3. Edward S. Curtis American, 1868-1952 Marcos - Palm Cañon Cahuilla (Plate 517) (from The North American Indian, volume XV), 1924 photogravure on tissue 11-1/2 x 15-1/2 inches Museum purchase with funds provided by the William Holden Acquisition Fund 4-1985.10 Page 1 of 42 4. Edward S. Curtis American, 1868-1952 Numero - Desert Cahuilla (Plate 519) (from The North American Indian, volume XV), 1924 photogravure on tissue 11-1/2 x 15-1/2 inches Museum purchase with funds provided by the William Holden Acquisition Fund 4-1985.12 5. Edward S. Curtis American, 1868-1952 A Desert Cahuilla Woman (Plate 522) (from The North American Indian, volume XV), 1924 photogravure on tissue 11-1/2 x 15-1/2 inches Museum purchase with funds provided by the William Holden Acquisition Fund 4-1985.15 6. Edward S. Curtis American, 1868-1952 A desert Cahuilla female type. Facing page 122 (from The North American Indian, volume XV), 1926 photogravure on tissue 5-1/2 x 7-3/8 inches Museum purchase with funds provided by the William Holden Acquisition Fund 4-1985.94 Page 2 of 42 7. -
SORTED by CODE Books Are in the Same Order on the Shelf As They Are on This List
SORTED BY CODE Books are in the same order on the shelf as they are on this list. PLEASE return to the correct spot. If you check someone out but the book is somehow not on the list, please add it to this list. If a call number is wrong, please fix it in the book and double check it with the list. Please make sure any books taken out are checked out. There is a box on the back table for when people are looking, any book they take off the shelf should be placed here for us to reshelve, to avoid disorganization. Last Updated: 04/04/18 by Grey Code Title Author Masters Thesis 040.DIN.1 Spiralling Webs of Relation: Movements Toward An Indigenist Criticism Nova, Joanne Rochelle Di Worldeaters: An Ecosophical Critique of Western Industrial Civilization in 040.Dun.1 Selected Works of Linda Hogan and Ursula K. Le Guin Dunn, Aimee 040.GRI.1 Spanish Occupation of the Hasinai Country 1690-1737, The Griffith, William Joyce Serials Regarding Native North Americans 042.CHA.1 Reference Library of Native North America Vol. 1 Champagne, Duane 042.CHA.2 Reference Library of Native North America Vol. 2 Champagne, Duane 042.CHA.3 Reference Library of Native North America Vol. 3 Champagne, Duane 042.CHA.4 Reference Library of Native North America Vol. 4 Champagne, Duane Cambridge History of the Native Peoples of the Americas: North America, 042.TRI.1 The Trigger, Bruce G. - volume editor Cambridge History of the Native Peoples of the Americas: North America, 042.TRI.2 The Trigger, Bruce G. -
NMU Center for Native American Studies Resource Room Book Collection Sort by Code Updated September 9, 2017
NMU Center for Native American Studies Resource Room Book Collection Sort by Code Updated September 9, 2017 CALL NUMBER TITLE AUTHOR OR EDITOR 007.Gom.1 Native American Music Directory Gombert, Gregory 007.IAC.1 Source Directory Indian Arts & Crafts Board 007.MCA.1 Native American Crafts Directory McAlister, Diane L. 007.NNA.1 Native American Directory National Native American Coorperative 008.CHA.1 Native North American Almanac, The Champagne, Duane Native North American Almanac: A Reference Work on Native North Americans in the United States and Canada, 008.CHA.2 The Champagne, Duane 008.Dar.1 How We Live Now Darion, Ellen 008.Dut.1 Indians of the Southwest Dutton, Bertha - editor 008.Fol.1 America's Ancient Treasures Folsom, Franklin 008.Fra.1 Many Nations Frazier, Patrick - editor 008.MOR.1 1992 International Directory & Resource Guide Morris, Karin Anishinabe Michi Gami (People of the Great Lakes): A 008.NAF.1 Guidebook for Public Policymakers Native American Fellows Anishinabe Michi Gami (People of the Great Lakes): A 008.NAF.2 Guidebook for Public Policymakers Native American Fellows Anishinabe Michi Gami (People of the Great Lakes): A 008.NAF.3 Guidebook for Public Policymakers Native American Fellows 008.PHS.1 Gathering of Native Americans (GONA) 008.RUS.1 Native American FAQs Handbook Russell, George 008.RUS.2 Native American FAQs Handbook Russle, Geroge How to Tell the Difference: A Guide to Evaluating Children's Slapin, Beverly, Seale, Doris, and 008.SLA.1 Books for Anti-Indian Bias Gonzales, Rosemary Everything You Wanted -
Portable Housing for Mexican Migrant Workers
Copyright Warning & Restrictions The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than private study, scholarship, or research.” If a, user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of “fair use” that user may be liable for copyright infringement, This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. Please Note: The author retains the copyright while the New Jersey Institute of Technology reserves the right to distribute this thesis or dissertation Printing note: If you do not wish to print this page, then select “Pages from: first page # to: last page #” on the print dialog screen The Van Houten library has removed some of the personal information and all signatures from the approval page and biographical sketches of theses and dissertations in order to protect the identity of NJIT graduates and faculty. ABSTRACT PORTABLE HOUSING FOR MEXICAN MIGRANT WORKERS by Janet Corzo A capable migrant labor force is critical in sustaining the United States' agriculture industry. Yet, migrant farm workers are among the most economically disadvantaged people in the United States (NCFH). The housing available to migrant workers in the United States is typically substandard and subject to other factors, such as local availability, social stigmas and legal status. -
La Onda Bajita: Lowriding in the Borderlands
La Onda Bajita: Lowriding in the Borderlands Michael C. Stone The term "lowriders" refers to automobiles magazine, together with the music of bands like that have been lowered to within a few inches of War, and the Luis Valdez film, Zoot Suit, evoked the road in the expressive style of la onda bajita, images of social and material realities of barrio "the low wave," or "the low trend." It also refers life in shaping and broadcasting the bajito identi to the people who craft them and to those who ty and style. As a public forum on Mexican-Amer own, drive or ride in them. On both sides of the ican identity, Low Rider magazine recast pejora U.S.-Mexico border and throughout the greater tive stereotypes - the culturally ambiguous Southwest, lowriders and their elaborately craft pocho-pachuco (Paredes 1978; Valdez 1978; Vil ed carritos, carruchas, or ranjlas- other names lareal 1959), the dapper zoot-suiter (Mazon for their vehicles- contribute their particular 1984), the street-wise cholo homeboy, the pinto or style to the rich discourse of regional Mexican prison veterano, and the wild vato loco Qohansen American identities. Paradoxically expressed in 1978) -as affirmative cultural archetypes automotive design, lowriders' sense of regional emerging from the long shadow of Anglo domi cultural continuity contributes a distinctive social nation. sensibility to the emergent multicultural mosaic The style apparently arose in northern Cali of late 20th-century North America (Gradante fornia in the late 1930s, but evolved in Los Ange 1982, 1985; Plascencia 1983; Stone 1990). les, where its innovators responded to Holly A synthesis of creative imagination and tech wood's aesthetic and commercial demands. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
SUBTERRANEAN MASQUERADE - the Great Bazaar Cat # TAK002 Format: Limited Eition Digibook / Vinyl Style: Symphonic Progmetal
SUBTERRANEAN MASQUERADE - The Great Bazaar Cat # TAK002 Format: Limited eition Digibook / Vinyl Style: Symphonic Progmetal Artist Website: www.submasq.net www.facebook.com/submasq "Welcome to the carnival of the dysfunctional and the disturbed" Formed back in 1997 with an idea to mix progressive rock, doom metal and 70's-inspired psychedelic rock, Subterranean Masquerade creates music with that edge of extreme metal and the loose atmosphere of Pink Floyd and Iron butterfly. While admittedly not such a pioneering idea on its own, the vision of freeing metal music from genre boundaries, wrapped by grand production is what often make the band's music sound like a carnival of different colors and scents… a masquerade! Subterranean Masquerade's music first came into the world back in 2000 with a cover version of Peter Murphy's classic "Cut's you up". The cover, released as part of an 80's metal cover compilation album, was recorded with guest appearances by Tomas Lindberg of At the Gates, Kobi Farhi of Orphaned Land and produced by Dori Bar Or from Eternal Gray. The first official band release came in the form of a semi-acoustic two track EP (17 minutes long) entitled "Temporary Psychotic State", this recording featured Paul Khur of Novembers doom as the lead vocalist as well as JWW of Agalloch on bass guitar and Andy Winter from the band WINDS on some of the keys and synths. Released later that year by THE END RECORDS, the EP was received with highly positive reviews from media and fans alike. In the midst of working on a full length album, the band entered the studio to record a DEAD CAN DANCE cover track.