DOCSLIB.ORG

The Geste of Duke Jocelyn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Geste of Duke Jocelyn The Geste of Duke Jocelyn Jeffery Farnol The Project Gutenberg EBook of The Geste of Duke Jocelyn, by Jeffery Farnol #5 in our series by Jeffery Farnol Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: The Geste of Duke Jocelyn Author: Jeffery Farnol Release Date: May, 2005 [EBook #8165] [Yes, we are more than one year ahead of schedule] [This file was first posted on June 24, 2003] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK THE GESTE OF DUKE JOCELYN *** Produced by Ted Garvin & the Online Distributed Proofreading Team THE GESTE OF DUKE JOCELYN by Jeffery Farnol with illustrations in color by Eric Pape Copyright, 1920, BT LITTLE, BBOWN, AND COMPANY. All rights reserved Published September, 1920 Norwood Press Set up and electrotyped by J. S. Cushing Co. Norwood, Mass., U.S.A. My GILLIAN, thou child that budding woman art For whom to-day and yesterday lie far apart Already thou, my dear, dost longer dresses wear And bobbest in most strange, new-fangled ways thy hair; Thou lookest on the world with eyes grown serious And rul'st thy father with a sway imperious Particularly as regards his socks and ties Insistent that each with the other harmonise. Instead of simple fairy-tales that pleased of yore Romantic verse thou read'st and novels by the score And very oft I've known thee sigh and call them "stuff" Vowing of love romantic they've not half enough. Wherefore, like fond and doting parent, I Will strive this want romantic to supply. I'll write for thee a book of sighing lover Crammed with ROMANCE from cover unto cover; A book the like of which 't were hard to find Filled with ROMANCE of every sort and kind. I'll write it as the Gestours wrote of old, In prose, blank-verse, and rhyme it shall be told. And GILLIAN-- Some day perhaps, my dear, when you are grown A portly dame with children of your own You'll gather all your troop about your knee And read to them this Geste I made for thee. ILLUSTRATIONS "Nobles of Brocelaunde, salute your Duchess Yolande" They saw afar the town of Canalise "Brave soldier, I do thank thee well!" she sighed "Hush, poor Motley!" whispered the maid. With mighty bound, bold Robin leaping came The long blades whirled and flashed PRELUDE Long, long ago when castles grim did frown, When massy wall and gate did 'fend each town; When mighty lords in armour bright were seen, And stealthy outlaws lurked amid the green And oft were hanged for poaching of the deer, Or, gasping, died upon a hunting spear; When barons bold did on their rights insist And hanged or burned all rogues who dared resist; When humble folk on life had no freehold And were in open market bought and sold; When grisly witches (lean and bony hags) Cast spells most dire yet, meantime, starved in rags; When kings did lightly a-crusading fare And left their kingdoms to the devil's care-- At such a time there lived a noble knight Who sweet could sing and doughtily could fight, Whose lance thrust strong, whose long sword bit full deep With darting point or mighty two-edged sweep. A duke was he, rich, powerful--and yet Fate had on him a heavy burden set, For, while a youth, as he did hunt the boar, The savage beast his goodly steed did gore, And as the young duke thus defenceless lay, With cruel tusk had reft his looks away, Had marred his comely features and so mauled him That, 'hind his back, "The ugly Duke" folk called him-- My daughter GILLIAN interposeth: GILL: An ugly hero? MYSELF: That is so. GILL: An ugly hero, father? O, absurd! Whoever of an "ugly" hero heard? MYSELF: I'll own, indeed, I've come across but few-- GILL: But a duke--and ugly! Father, this from you? MYSELF: My duke is ugly, very, for good reason, As shall appear in due and proper season! GILL: I'm sure no one will want to read him then, For "heroes" all should be most handsome men. So make him handsome, please, or he won't do. MYSELF: By heaven, girl--no, plain heroes are too few! GILL: Then ev'ry one will leave him on the shelf! MYSELF: Why, then, I'll read the poor fellow myself. GILL: I won't! MYSELF: Then don't! Though, I might say, since you're set on it, child, My duke was not so ugly when he smiled-- GILL: Then make him smile as often as you can. MYSELF: I might do that, 't is none so bad a plan. GILL: And the lady--she must be a lady fair. MYSELF: My dear, she's beautiful beyond compare. GILL: Why, then-- MYSELF: My pen! So here and now I do begin The tale of young Duke Jocelyn, For critics, schools, And cramping rules, Heedless and caring not a pin. The title here behold On this fair page enrolled, In letters big and bold, As seemeth fit-- To wit:-- FYTTE I Upon a day, but when it matters not, Nor where, but mark! the sun was plaguy hot Falling athwart a long and dusty road In which same dust two dusty fellows strode. One was a tall, broad-shouldered, goodly wight In garb of motley like a jester dight, Fool's cap on head with ass's ears a-swing, While, with each stride, his bells did gaily ring; But, 'neath his cock's-comb showed a face so marred With cheek, with brow and lip so strangely scarred As might scare tender maid or timid child Unless, by chance, they saw him when he smiled, For then his eyes, so deeply blue and bright, Did hold in them such joyous, kindly light, That sorrow was from heavy hearts beguiled-- This jester seemed less ugly when he smiled. Here, O my Gill, right deftly, in a trice I've made him smile and made him do it--twice. That 't was the Duke of course you've guessed at once Since you, I know, we nothing of a dunce. But, what should bring a duke in cap and bells? Read on and mark, while he the reason tells. Now, 'spite of dust and heat, his lute he strummed, And snatches of a merry song he hummed, The while askance full merrily he eyed The dusty knave who plodded at his side. A bony fellow, this, and long of limb, His habit poor, his aspect swart and grim; His belt to bear a long broad-sword did serve, His eye was bold, his nose did fiercely curve Down which he snorted oft and (what is worse) Beneath his breath gave vent to many a curse. Whereat the Duke, sly laughing, plucked lutestring And thus, in voice melodious did sing: "Sir Pertinax, why curse ye so? Since thus in humble guise we go We merry chances oft may know, Sir Pertinax of Shene." "And chances woeful, lord, also!" Quoth Pertinax of Shene. "To every fool that passeth by These foolish bells shall testify That very fool, forsooth, am I, Good Pertinax of Shene!" "And, lord, methinks they'll tell no lie!" Growled Pertinax of Shene. Then spake the Knight in something of a pet, "Par Dex, lord Duke--plague take it, how I sweat, By Cock, messire, ye know I have small lust Like hind or serf to tramp it i' the dust! Per De, my lord, a parch-ed pea am I-- I'm all athirst! Athirst? I am so dry My very bones do rattle to and fro And jig about within me as I go! Why tramp we thus, bereft of state and rank? Why go ye, lord, like foolish mountebank? And whither doth our madcap journey trend? And wherefore? Why? And, prithee, to what end?" Then quoth the Duke, "See yonder in the green Doth run a cooling water-brook I ween, Come, Pertinax, beneath yon shady trees, And there whiles we do rest outstretched at ease Thy 'wherefores' and thy 'whys' shall answered be, And of our doings I will counsel thee." So turned they from the hot and dusty road Where, 'mid green shade, a rill soft-bubbling flowed, A brook that leapt and laughed in roguish wise, Whereat Sir Pertinax with scowling eyes Did frown upon the rippling water clear, And sware sad oaths because it was not beer; Sighful he knelt beside this murmurous rill, Bent steel-clad head and bravely drank his fill. Then sitting down, quoth he: "By Og and Gog, I'll drink no more--nor horse am I nor dog To gulp down water--pest, I hate the stuff!" "Ah!" laughed the Duke, "'tis plain hast had enough, And since well filled with water thou dost lie To answer thee thy questions fain am I.
Load more

Recommended publications
  • Isum 許諾楽曲一覧 更新日：2019/1/23
    ページ：1/37 ISUM 許諾楽曲一覧 更新日：2019/1/23 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM-1880-0537 JASRAC あの紙ヒコーキ くもり空わって ISUM-8212-1029 JASRAC SUNSHINE ISUM-9896-0141 JASRAC IT'S GONNA BE ALRIGHT ISUM-3412-4114 JASRAC あの青をこえて ISUM-5696-2991 JASRAC Thank you ISUM-9456-6173 JASRAC LIFE ISUM-4940-5285 JASRAC すべてへ ISUM-8028-4608 JASRAC Tomorrow ISUM-6164-2103 JASRAC Little Hero ISUM-5596-2990 JASRAC たいせつなひと ISUM-3400-5002 NexTone V.O.L ISUM-8964-6568 JASRAC Music Is My Life ISUM-6812-2103 JASRAC まばたき ISUM-0056-6569 JASRAC Wake up! ISUM-3920-1425 JASRAC MY FRIEND 19 ISUM-8636-1423 JASRAC 果てのない道 ISUM-5968-0141 NexTone WAY OF GLORY ISUM-4568-5680 JASRAC ONE ISUM-8740-6174 JASRAC 階段 ISUM-6384-4115 NexTone WISHES ISUM-5012-2991 JASRAC One Love ISUM-8528-1423 JASRAC 水・陸・そら、無限大 ISUM-1124-1029 JASRAC Yell ISUM-7840-5002 JASRAC So Special -Version AI- ISUM-3060-2596 JASRAC 足跡 ISUM-4160-4608 JASRAC アシタノヒカリ ISUM-0692-2103 JASRAC sogood ISUM-7428-2595 JASRAC 背景ロマン ISUM-5944-4115 NexTone ココア by MisaChia ISUM-1020-1708 JASRAC Story ISUM-0204-5287 JASRAC I LOVE YOU ISUM-7456-6568 NexTone さよならの前に ISUM-2432-5002 JASRAC Story(English Version) 369 AAA ISUM-0224-5287 JASRAC バラード ISUM-3344-2596 NexTone ハレルヤ ISUM-9864-0141 JASRAC VOICE ISUM-9232-0141 JASRAC My Fair Lady ft. May J. "E"qual ISUM-7328-6173 NexTone ハレルヤ -Bonus Tracks- ISUM-1256-5286 JASRAC WA Interlude feat.鼓童,Jinmenusagi AI ISUM-5580-2991 JASRAC サンダーロード ↑THE HIGH-LOWS↓ ISUM-7296-2102 JASRAC ぼくの憂鬱と不機嫌な彼女 ISUM-9404-0536 JASRAC Wonderful World feat.姫神 ISUM-1180-4608 JASRAC Nostalgia
    [Show full text]
  • Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
    Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U.
    [Show full text]
  • Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
    The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair­ banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills.
    [Show full text]
  • The Walsh Brothers in Hollywood
    Volume XXXX, No. 11 • January (Eanáir), 2015 The Walsh Brothers in Hollywood .........................................................................................................Raoul and George Walsh got their start wrote. The movie starred silent cinema jackrabbit jumped through a windshield as in New York City, born not to the stage superstar Anna Q. Nilsson as a society he was driving. He gave up the part (but and screen, but both made their marks woman turned social worker who aids the not the directing job), and never acted upon both - Raoul as an actor, director, and regeneration of a Bowery gang leader. again. Warner Baxter won an Oscar for the founding member of the Academy of role Walsh was originally slated to play. Walsh later directed The Thief of Motion Picture Arts and Sciences, George Bagdad (1924) starring Douglas Fairbanks Walsh would wear an eye patch for the rest as an actor. and Anna May Wong, and What Price of his life. Raoul Walsh was born in New York as Glory? (1926) starring Victor McLaglen In the early days of sound with Fox, Albert Edward Walsh to Elizabeth T. and Dolores del Río. Walsh directed the first widescreen Bruff, the daughter of Irish Catholic spectacle, The Big Trail (1930), an epic immigrants, and Thomas W. Walsh, an wagon train western shot on location Englishman of Irish descent. Like his across the West. The movie starred then younger brother, he was part of Omega unknown John Wayne, whom Walsh Gamma Delta during his high school discovered as prop-boy Marion Morrison. days. Growing up in New York, Raoul Walsh renamed Morrison after Revolu- Walsh was also a friend of the Barrymore tionary War general Mad Anthony Wayne, family.
    [Show full text]
  • A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild
    ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents .
    [Show full text]
  • A Distant Trumpet
    A Distant Trumpet Music by Max Steiner (1964) [movie***] [music ****] https://www.wbshop.com/products/distant-trumpet-a-mod [NOTE: This manuscript was cut & pasted from my large DVD Collection analyses paper] This “picture” (as Max would normally call a “movie”) scored by Steiner is still available at Warner Archive (see the link immediately above). It is beautifully shot in terms of locales (New Mexico and Arizona), usually very bright and desert dry scenes (except for a rainy night sequence with the Suzanne Pleshette character (Kitty) holed up in a cave with the Troy Donahue character (Lt. Matt Hazard). This is located 19 minutes into the movie. It’s an enjoyable picture to watch now and then but it certainly is no classic western (despite being directed by Raoul Walsh)! The first half of the movie kept me interested but it got to be rather tiresome afterward, especially that long, drawn-out Indian battle about an half and a half into the movie! I primarily purchased the dvd because of the music score by Max Steiner, one of his very last assignments. I researched the written full score 1 at USC-Warner Brothers Archives in the Research Annex just off-campus at 3716 S. Hope on March 11, 2005. How time flies. That was nearly six years ago. I do not plan to do an official “rundown” on the music since I worked very little on the score (not enough time). I managed to touch upon (hand- copy) segments of the first two or three reels of cues. While not a top drawer Steiner score, it is nevertheless still characteristically vibrant and energetic.
    [Show full text]
  • Disjointed War: Military Operations in Kosovo, 1999
    Disjointed War Military Operations in Kosovo, 1999 Bruce R. Nardulli, Walter L. Perry, Bruce Pirnie John Gordon IV, John G. McGinn Prepared for the United States Army Approved for public release; distribution unlimited R Arroyo Center The research described in this report was sponsored by the United States Army under contract number DASW01-01-C-0003. Library of Congress Cataloging-in-Publication Data Disjointed war : military operations in Kosovo, 1999 / Bruce R. Nardulli ... [et al.]. p. cm. “MR-1406.” Includes bibliographical references. ISBN 0-8330-3096-5 1. Kosovo (Serbia)—History—Civil War, 1998—Campaigns. 2. North Atlantic Treaty Organization—Armed Forces—Yugoslavia. I. Nardulli, Bruce R. DR2087.5 .D57 2002 949.703—dc21 2002024817 Cover photos courtesy of U.S. Air Force Link (B2) at www.af.mil, and NATO Media Library (Round table Meeting) at www.nato.int. RAND is a nonprofit institution that helps improve policy and decisionmaking through research and analysis. RAND® is a registered trademark. RAND’s publications do not necessarily reflect the opinions or policies of its research sponsors. Cover design by Stephen Bloodsworth © Copyright 2002 RAND All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from RAND. Published 2002 by RAND 1700 Main Street, P.O. Box 2138, Santa Monica, CA 90407-2138 1200 South Hayes Street, Arlington, VA 22202-5050 201 North Craig Street, Suite 102, Pittsburgh, PA 15213 RAND URL: http://www.rand.org/ To order RAND documents or to obtain additional information, contact Distribution Services: Telephone: (310) 451-7002; Fax: (310) 451-6915; Email: [email protected] PREFACE Following the 1999 Kosovo conflict, the Army asked RAND Arroyo Center to prepare an authoritative and detailed account of military operations with a focus on ground operations, especially Task Force Hawk.
    [Show full text]
  • The American Indian in the American Film
    THE AMERICAN INDIAN IN THE AMERICAN FILM Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in American Studies in the University of Canterbury by Michael J. Brathwaite 1981 ABSTRACT This thesis is a chronological examination of the ways in which American Indians have been portrayed in American 1 f.ilms and the factors influencing these portrayals. B eginning with the literary precedents, the effects of three wars and other social upheavals and changes are considered. In addition t-0 being the first objective detailed examination of the subj�ct in English, it is the first work to cover the last decade. It concludes that because of psychological factors it is unlikely that film-makers are - capable of advancing far beyond the basic stereotypes, and that the failure of Indians to appreciate this has repeatedly caused ill-feeling between themselves and the film-makers, making the latter abandon their attempts at a fair treatment of the Indians. ii TABLE OF CONTENTS Preface iii Chapter I: The Background of the Problem c.1630 to c.1900. 1 Chapter II: The Birth of the Cinema and Its Aftermath: 1889 to 1939. 21 Chapter III: World War II and Its Effects: 1940 to 1955. 42 Chapter IV: Assimilation of Separatism?: 1953 to 1965. 65 Chapter V: The Accuracy Question. 80 Chapter VI: Catch-22: 1965 to 1972. 105 Chapter VII: Back to the Beginning: 1973 to 1981. 136 Chapter VIII: Conclusion. 153 Bibliography 156 iii PREFACE The aim of this the.sis is to examine the ways in which the American Indians have been portrayed in American films, the influences on their portrayals, and whether or not they have changed.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • B52s Blast Missile Started Down Toward the Sur- the Ranges SAIGON (AP/AFRTS) --- U.S
    'W e're on the surface!' FRA MAURO, Moon (AP/AFRTS)--Astronauts Alan B. Shepard Jr. and Edgar D. Mitchell made a bull's-eye landing in the moon's rugged high- lands here today after outwitting a computer failure that threatened to abort their mission last minute. J REPORT at the ON History's third pair of lunar explorers -ar- SPACE ried man's muest for knowledge to that alien soil in the terry Antares, which touched down at 4:18 p.m. EST in the dusty surface ot the Fra Mauro region. "We're on the surracel We're right on the landing site!" Shepard cried exuberantly as their 13-minute dive to the surface ended. Mitchell -himed in, "That was a beautiful one." U.& NAVAL SAM fVAA"40 BAY, CUA The touchdown was two minutes later than called for in the flight plan as Shepard, flv- ing the craft manually, maneuvered to the landing target between two crater clusters names Triplet and Doublet. Minutes after landing Shepard reported the craft had come to rest on a gentle 8-degree slope "in good shape." The computer problem was a false signal. If it oc-!urred during the descent to the moon,-it would have led the lunar module's guidance computer to order engine firings that would have taken the craft away from the moon and FEBRUARY 5, 1971 Phon 9-524 7 aborted the landing. Mission Control came up with a solution in which the -omputer was told to ignore the false readings. This meant Shepard and Mit- itne chell had to work furiously, Sesi right up to the moment they B52s Blast Missile started down toward the sur- the ranges SAIGON (AP/AFRTS) --- U.S.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Silence
    UNIVERSITY OF CALIFORNIA Los Angeles Silence, Sound and Subtitles: Exploring Quechua, K’iche’ and the History of Indigenous Languages in United States Film and Television A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Rachel Irene Sprouse 2021 © Copyright by Rachel Irene Sprouse 2021 ABSTRACT OF THE THESIS Silence, Sound and Subtitles: Exploring Quechua, K’iche’ and the History of Indigenous Languages in United States Film and Television by Rachel Irene Sprouse Master of Arts in American Indian Studies University of California, Los Angeles, 2021 Professor Paul V. Kroskrity, Co-Chair Professor Teresa L. McCarty, Co-Chair This project seeks to understand the role that Indigenous languages, and specifically those of Latin America, play in mainstream United States film and television. Drawing on tools and ideas from American Indian studies, linguistic anthropology and film studies, this project constructs a chronology of Indigenous-language film dialogue from 1894 to 2021. Dora and the Lost City of Gold (2019) and Orange Is the New Black (2013-2019) serve as case studies, highlighting Quechua- and K’iche’-speaking characters respectively. A comparison of these two programs initiates a larger conversation around grassroots language advocacy, federal policy initiatives and ii hemispheric approaches to the study of Indigeneity in the Americas. Ultimately, City of Gold and OITNB reveal the extent to which language issues have permeated the public consciousness. Their presence in Hollywood reaffirms the need for interdisciplinary and hemispheric analyses on Indigenous migrant languages, realities and cinema. iii The thesis of Rachel Irene Sprouse is approved.
    [Show full text]
  • Fairy Inc. Sheet Music Products List Last Updated [2013/03/018] Price (Japanese Yen) a \525 B \788 C \683
    Fairy inc. Sheet Music Products list Last updated [2013/03/018] Price (Japanese Yen) A \525 B \788 C \683 ST : Standard Version , OD : On Demand Version , OD-PS : Piano solo , OD-PV : Piano & Vocal , OD-GS : Guitar solo , OD-GV : Guitar & Vocal A Band Score Piano Guitar Title Artist Tie-up ST OD ST OD-PS OD-PV ST OD-GS OD-GV A I SHI TE RU no Sign~Watashitachi no Shochiku Distributed film "Mirai Yosouzu ~A I DREAMS COME TRUE A A A Mirai Yosouzu~ SHI TE RU no Sign~" Theme song OLIVIA a little pain - B A A A A inspi'REIRA(TRAPNEST) A Song For James ELLEGARDEN From the album "BRING YOUR BOARD!!" B a walk in the park Amuro Namie - A a Wish to the Moon Joe Hisaishi - A A~Yokatta Hana*Hana - A A Aa Superfly 13th Single A A A Aa Hatsu Koi 3B LAB.☆ - B Aa, Seishun no Hibi Yuzu - B Abakareta Sekai thee michelle gun elephant - B Abayo Courreges tact, BABY... Kishidan - B abnormalize Rin Toshite Shigure Anime"PSYCHO-PASS" Opening theme B B Acro no Oka Dir en grey - B Acropolis ELLEGARDEN From the album "ELEVEN FIRE CRACKERS" B Addicted ELLEGARDEN From the album "Pepperoni Quattro" B ASIAN KUNG-FU After Dark - B GENERATION again YUI Anime "Fullmetal Alchemist" Opening theme A B A A A A A A Again 2 Yuzu - B again×again miwa From 2nd album "guitarium" B B Ageha Cho PornoGraffitti - B Ai desita. Kan Jani Eight TBS Thursday drama 9 "Papadoru!" Theme song B B A A A Ai ga Yobu Hou e PornoGraffitti - B A A Ai Nanda V6 - A Ai no Ai no Hoshi the brilliant green - B Ai no Bakudan B'z - B Ai no Kisetsu Angela Aki NHK TV novel series "Tsubasa" Theme song A A
    [Show full text]