DOCSLIB.ORG

Guide to the Walter C. Dopierala Comic Book Collection 1949-1960

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

University of Chicago Library Guide to the Walter C. Dopierala Comic Book Collection 1949-1960 © 2008 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Historical Note 3 Scope Note 4 Related Resources 5 Subject Headings 5 INVENTORY 5 Descriptive Summary Identifier ICU.SPCL.DOPIERALA Title Dopierala, Walter C. Comic Book Collection Date 1949-1960 Size 22.5 linear feet (45 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract This collection of mid-twentieth century comic books was built by Walter C. Dopierala, an alumnus of the University of Chicago (A.B. 1966). It contains over 2,000 comic books, representing a wide variety of popular titles. Comic books are arranged by genre, including comedy-fantasy, adventure, western, Classics Illustrated, and superheroes. Information on Use Access The collection is open for research. Citation When quoting material from this collection, the preferred citation is: Dopierala, Walter C. Comic Book Collection [Box #, Folder #], Special Collections Research Center, University of Chicago Library Historical Note Comic books have had a turbulent history in the United States, and only recently have gained acceptance as an authentic literary genre. The Golden Age of Comic Books, from the 1930s through the late 1940s, saw a surge of popularity in comic books, as well as the creation of many of the major comics that are still in publication today. Superman, the first comic book superhero, debuted in 1938 in Action Comics, published by DC Comics. The new character was an instant success and led to the creation of such famous superheroes as Batman, Green Lantern, Wonder Woman, and The Flash. This era also saw the flourishing of adventure, western, and romance comic books. During World War II, comic books become iconic in their depictions of superheroes battling Axis forces, as with the patriotic Captain America, who debuted with a cover featuring the hero punching Adolf Hitler in the jaw. 3 Increasing concerns of the influence of violence, gore, and sexual innuendo in comics (especially with the expanding EC Comics brand, which focused on macabre horror stories) led to the creation of the Comics Code Authority in 1954, a part of the Comics Magazine Association of America, which become the de facto censor of comic books in the United States. This marked the end of the Golden Age and the emergence of the Silver Age of Comics, which would last until the 1970s. Though the Comics Code Authority lacked any enforcement power on its own, many magazine distributors refused to shelve comics which lacked the CCA stamp of approval. Thus, horror and gore comics were almost entirely forced out of business, and the major publishing companies had to radically change some of their subject matter and art direction. Supernatural horror elements were suppressed, and criminals could not be portrayed in any way that glamorized them, promoted disrespect for law-enforcement officials, or allowed them to go unpunished. The instatement of the CCA created an underground comics movement which evaded the CCA stamp of approval, often dealing with issues not permitted by the Comics Code Authority. The CCA was revised multiple times, but most importantly after the 1971 publication of a government endorsed Spiderman issue by Stan Lee which dealt with drug addiction. After this, comics began to turn to darker subject matter and escapism during the 1970’s and early 1980’s, which became known as the Bronze Age of Comics. Scope Note This collection was built by Walter C. Dopierala, an alumnus of the University of Chicago (A.B. 1966). The comic books contained in this collection reflect a wide variety of popular comic books published from the late 1940s-early 1960s, or from the end of the Golden Age to the beginning of the Silver Age. Well-represented in this collection are Dell Comics, which published Walt Disney comics as well as several Western titles; the rival super-hero comics publishers Marvel and DC; the Classics Illustrated series, which adapted famous literary and folklore tales to comic book format; and Archie comics, a popular title with particular appeal to female comic book readers. In many of the superhero comics in the collection, CCA-influenced changes in subject matter and storylines are clearly evident after 1954. The collection is arranged by genre, such as comedy-fantasy, adventure, westerns, Classics Illustrated, and superheroes: The first section of this collection contains mainly comedy-fantasy comics published by Walt Disney. Many of these feature Mickey Mouse, Donald Duck, and Goofy, and contain multiple 4 short stories about other recurring characters in the Disney universe. There are several large compilation books, such as the annual "Christmas Parade," that contain longer stories about many of the famous Disney characters. Also included in this section are Archie Comics and Warner Brothers (Looney Tunes and Merrie Melodies franchises). Adventure titles include comics about heroes such as Tarzan, Robin Hood, and action and adventure characters made famous in television and movies. Interfiled with these titles are single- issue comics based on movies and television shows such as I Love Lucy. Western titles include a large number of Roy Rogers, Gene Autry, and The Lone Ranger comics, as well as numerous sub-genres, such as comics centered on the horses of famous western comic book heroes. Also included are a number of comics based on famous television and film westerns. Classics Illustrated titles include almost all of numbers 1-147 of this series, plus Junior and Special series. These comics are reformatting of famous literary stories and special topics. It includes such stories as Frankenstein, Alice in Wonderland, 20,000 Leagues Under the Sea, Little Red Riding Hood, The Frog Prince, and comics on topics such as the Royal Canadian Mounted Police. The final section of the collection contains various super-hero comics, including comics from two of the largest comic book companies – DC Comics and Marvel Comics. There are sizable runs of both Batman and Superman comics, mostly after the Comic Code Authority went into effect. Also included are Superboy, Wonder Woman, and spin-offs based on these characters. The inventory describes the comic books as they are found in folders, including titles, issue numbers, dates of publication, and number of items in each folder. Related Resources The following related resources are located in the Department of Special Collections: http://www.lib.uchicago.edu/e/spcl/select.html Subject Headings • Dopierala, Walter C. • Comic books, strips, etc. INVENTORY Box 1 Folder 1 5 Walt Disney's Comics and Stories, 138; 139; 144; 145; 151; 153- 155, 1952-1953, 8 items Box 1 Folder 2 Walt Disney's Comics and Stories, 157; 160-163; 165; 167; 168, 1953-1954, 8 items Box 1 Folder 3 Walt Disney's Comics and Stories, 169-176, 1954-1955, 8 items Box 1 Folder 4 Walt Disney's Comics and Stories, 177-184, 1955-1956, 8 items Box 1 Folder 5 Walt Disney's Comics and Stories, 185-192, 1956-1956, 8 items Box 1 Folder 6 Walt Disney's Comics and Stories, 193-200, 1956-1957, 8 items Box 1 Folder 7 Walt Disney's Comics and Stories, 201-209, 1957-1958, 8 items Box 2 Folder 1 Walt Disney's Comics and Stories, 210-217, 1958-1958, 8 items Box 2 Folder 2 Walt Disney's Comics and Stories, 218-225, 1958-1959, 8 items Box 2 Folder 3 Items 1-8 • Walt Disney's Comics and Stories, 226-228, 1959, 3 items • Donald Duck, 408; 422; 26-28, 1952-1953, 5 items Box 2 Folder 4 Donald Duck, 30-38, 1953-1954, 9 items Box 2 Folder 5 Donald Duck, 39-46, 1955-1956, 8 items Box 2 Folder 6 Donald Duck, 47-54, 1956-1957, 8 items Box 2 Folder 7 Donald Duck, 55-62, 1957-1958, 8 items Box 3 Folder 1 Items 1-6 6 • Donald Duck, 63-67, 1959, 5 items • Donald Duck, undated, 1 item • Walt Disney's Comics and Stories, undated, 1 item • Duck Album, 492, 1953, 1 item Box 3 Folder 2 Duck Album, 531; 560; 586; 611; 649; 686; 726; 782, 1953-1957, 8 items Box 3 Folder 3 Items 1-4 • Duck Album, 840; 995, 1957-1959, 2 items • Donald Duck's Fun Book, 1--2, 1953-1954, 2 items Box 3 Folder 4 Donald Duck's Beach Party, 1--3, 1954-1956, 3 items Box 3 Folder 5 Items 1-3 • Donald Duck's Beach Party, 4--5, 1957-1958, 2 items • Donald Duck in Disneyland, 1, 1955, 1 item Box 3 Folder 6 Items 1-8 • Daisy Duck's Diary, 659; 743; 858; 948, 1955-1958, 4 items • Grandma Duck's Farm Friends, 763; 873; 965; 1010, 1956- 1959, 4 items Box 3 Folder 7 Walt Disney's Christmas Parade, 4--6, 1952-1954, 3 items Box 4 Folder 1 Walt Disney's Christmas Parade, 7--9, 1955-1958, 3 items Box 4 Folder 2 Items 1-3 • Walt Disney's Vacation Parade, 4--5, 1953-1954, 2 items • Walt Disney's Picnic Party, 6, 1955, 1 item Box 4 Folder 3 Items 1-3 • Walt Disney's Picnic Party, 7--8, 1956-1957, 2 items • Mickey Mouse Club Parade, 1, 1955, 1 item Box 4 Folder 4 Items 1-3 • Untitled (no cover), unknown, undated, 1 item • Uncle Scrooge Goes to Disneyland, 1, 1957, 1 item 7 • Mickey Mouse Almanac, 1, 1957, 1 item Box 4 Folder 5 Items 1-3 • Christmas in Disneyland, 1, 1957, 1 item • Disneyland Birthday Party, 1, 1958, 1 item • Vacation in Disneyland, 1, 1958, 1 item Box 4 Folder 6 Items 1-3 • Donald and Mickey in Disneyland, 1, 1958, 1 item • Mickey Mouse in Frontierland, 1, 1956, 1 item • Mickey Mouse in Fantasyland, 1, 1957, 1 item Box 4 Folder 7 Items 1-3 • Mickey Mouse Birthday Party, 1, 1953, 1 item • Mickey Mouse Summer Fun, 1, 1958,
Recommended publications
  • Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood

    Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood

    Those Slap-Happy Screamsters Go A’haunting! Saturday, October 23 at 2 & 8 pm only Abbott and Costello’s Hold That Ghost In late 1941 Milton Berle was said to have quipped, "Things are slow in Hollywood. Abbott and Costello haven't made a picture all day." And he was right. fter the smash success of their first starring feature,Buck Privates, (1941) burlesque and Aradio comics Bud Abbott and Lou Costello were the number one box office attraction in the country--and literally saved Universal Studios from bankruptcy. In fact, the only movie that outgrossed Buck Privates at the time was Gone with the Wind. Anxious to keep the team working, Universal Studios had already completed production on their next film, a non-music spoof of two popular film genres of the era--the Haunted House movie and Gangster melodrama--then titled Oh Charlie! (a reference to a running gag in the film where a dead gangster's body keeps turning up). But when the huge box office returns fromBuck Privates began rolling in, Universal temporarily shelved Oh Charlie! to put the team in an- other service themed follow-up, In the Navy. When they returned to Oh Charlie! , Universal discovered test audiences for the film wondered why the Andrews Sisters, who had been in the two previous hits, were absent in this one. So additional re-shoots were required to include the trio, now making it a horror/ comedy, with a couple of songs thrown in. The title was eventually changed to Hold That Ghost and became the third smash hit for Abbott and Costello that year, continuing a string of successes that would keep them among the top box office attractions for the next ten years and would also serve as the inspiration for another classic, 1948's Abbott and Costello Meet Frankenstein.
  • Who's on First 

    Who's on First 

    ABBOTT & COSTELLO WHO’S ON FIRST? "Who's on First?" is descended from turn-of-the-century burlesque sketches like "The Baker Scene" (the shop is located on Watt Street) and "Who Died" (the owner is named Who). In England, in the variety halls (Britain's equivalent of vaudeville theatres), comedian Will Hay performed a routine in the early 1930s (and possibly earlier) as a schoolmaster interviewing a schoolboy named Howe who came from Ware but now lives in Wye. By the early 1930s, a "Baseball Routine" had become a standard bit for burlesque comics across the United States of America[citation needed]. Abbott and Costello honed the sketch, using the nicknames of then-contemporary baseball players like Dizzy and Daffy Dean (and their alleged French cousin, "Goofé") to set up the premise. In 1938 burlesque producer John Grant, working with Abbott and Costello, asked Will Glickman, a staff writer on The Kate Smith Hour radio show, to sharpen and amplify the Baseball Routine for performance on the show. This version, with extensive wordplay based on the names of contemporary baseball players, became known as "Who's on First?" By 1944, Abbott and Costello had the routine copyrighted. Abbott and Costello performed "Who's on First?" numerous times in their careers, rarely performing it the same way twice. Once, they did the routine at President Roosevelt's request. The routine was featured in the team's 1940 film debut, One Night in the Tropics. The duo reprised the bit in their 1945 film The Naughty Nineties, and it is that version which is considered their finest recorded rendition.
  • Kiionize Geparunant Charges; Dr

    Kiionize Geparunant Charges; Dr

    'V'V, 1*. v if MONDAY, MARCH 21, 194t gpgtttng ijeraUi The Weather Average Dally N at’Fraaa Run FuraaaiM at U. 8. Haathar Buiaus Wm lb s Mm Ui oI Fabmuy. Ift* ahip o f J e m la that H glvoa man morning ineludod tho- nnthema f f,ip*thiwg to live op to,” Bav. Bfl- “Ood So Loved the Wortd" by Cloudy and vary warm this aft- Mrs. Major BlaseU of Stresses Need arannn; eccasloaal rala tonight, wlU be the special "P^okm *t ^ To Be Director gar continnad. * Moore and *T^rd Moat Holy” by 9,713 amllng Wadnrwlay mornlag aad 'jlljboulTo^ Friendship Circle of the Salvation m w maponalMlity la oura. Th to Roaaini sung by the South Ckurch Btambar o l «ko ^ n iM fnliowad by clrariai. Arm y tonight at 7:30 p.m. love thht Jeaua glvea to othom choir and the organ prelude "Ada­ For Friendship mfleets through their Uvea. Jeaua Baraaa a< OrmdaMaoa ^ ^T M n to a POMlbUtty that tht gio” (SonaU No. 8) by Haydn Manchester-^4 City of Village Charm "Tredowata,” a Polish movie, still glvea ua thla challenge today and the poatlude “Cantablle” (So­ ilfi^ m eompattUra to Uvo.up to the bbat that U In ua. iM n S tha aaoetln# ot WlU be shown this Sunday after­ naU No. 8) by Haydn played by noon at 3 o’clock In W hlU B ^ le Rev.’Edgar Preaches the Chapter, Order o( DeMo- "Jeaua aleo gave people aotne- Oeorge G.* Ashton, organist ot the AivtrM M ag an Fags 18) MANiCHESTER, CONN., TUESDAY, MARCH 22,1949 (FULItlELN FACES) FUICE FOUR CENTS ■-f^ tly.
  • The Animated Roots of Wildlife Films: Animals, People

    The Animated Roots of Wildlife Films: Animals, People

    THE ANIMATED ROOTS OF WILDLIFE FILMS: ANIMALS, PEOPLE, ANIMATION AND THE ORIGIN OF WALT DISNEY’S TRUE-LIFE ADVENTURES by Robert Cruz Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2012 ©COPYRIGHT by Robert Cruz Jr. 2012 All Rights Reserved ii APPROVAL of a thesis submitted by Robert Cruz Jr. This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dennis Aig Approved for the School of Film and Photography Robert Arnold Approved for The Graduate School Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Robert Cruz Jr. April 2012 iv TABLE OF CONTENTS 1. INTRODUCTORY QUOTES .....................................................................................1
  • 2 Buck Chuck Appaloosa Kid Bailey Boy A.M. Wiker Apple Pie Bakwudz

    2 Buck Chuck Appaloosa Kid Bailey Boy A.M. Wiker Apple Pie Bakwudz

    2 Buck Chuck Appaloosa Kid Bailey Boy A.M. Wiker Apple Pie Bakwudz Abbie Rose Arapaho Kid Bald Eagle Aces & Eights* Arctic Annie Bam Bam Acky Mace Arizona Cactus Kid Bandana Kid Adirondack Kid Arizona CoyDog Bandit Adorable Kissable Katie Arizona Desert Rose Bandito Bob Akarate Zach Arizona Nate Banker Bob Alabama Arizona Ranger Banning Bandit Alamo Kid Arizona Shootist Bar Stool Bob Alamo Red Arizona Thumber Barbwire Albuquerque Duke Arkansas Angel Barbwire Bill Alchimista Arkansas Blue Eyes Bar-E Ali Cat Arkansas Josh Bark River Kid Aliby Arkansas Muleskinner Barry James All Over Arkansas Outlaw Bart Star Alleluia Ruah Arkansas Smokey Bashful Alley Oop Artful Dodger Basket Weaver Alonzo Slim Ashes to Ashes Bass Reeves Alotta Lead Auburn Angel Bat Masterson Alvira Sullivan Earp AZ Filly Bean Counter Aly Oakley Aztec Annie Beans Amazing Grace B.A. Bear Amboy Kid B.S. Shooter Beardy Magee Ambrosia Baba Looey Beaver Creek Kid Ambush Baby Blue Bebop American Caliber Baby Boulder Beckaroo Ana Oakley Bacall Bee Stinger Angel Eyes Bad Bud Belle Angel Lady Bad Burro Beller The Kid Angel of Valhalla Bad Diehl Ben Quicker Angry Jonny Bad Eye Burns Ben Rumson Anna Belle Diamond Bad Eye Lefty* Ben Wayde Annabell Burns Bad Leg John Benny the Bullet Annie B. Goode Bad Leroy Bent Barrel Annie Moose Killer Bad Shot Baxter BFI Annie Wells Bad to the Bone Big Al Anton LeBear Badlands Bandit Big Bad John Apache Bob Badlands Ben Big Bear Appalachian Cowboy Badwater Bob Big Bill Appalachian Hillbilly Badwolf Bart Big D.J. Zent Big Ez BlackJack Jason Boulder
  • Feminine Charm

    Feminine Charm

    THE GREAT DYING A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Fine Arts in Creative Writing by Amy Purcell August, 2013 Thesis written by Amy Purcell B.S., Ohio University, 1989 M.F.A., Kent State University, 2013 Approved by Varley O’Connor, Advisor Robert W. Trogdon, Chair, Department of Psychology Raymond A. Craig, Dean, College of Arts and Sciences ii CHAPTER ONE Lucy Sullivan first noticed she was disappearing on Monday morning as she prepared to return to work at the Field Museum. This was two weeks after Sean had died, at the peak of Chicago’s worst heat wave in history, and two weeks after she had asked, politely, for time and space alone. The apartment smelled of the worn-out sympathies of friends. Baskets of shriveled oranges and pears and wilting lilies and roses moldered on the coffee table and mantle above the fireplace in the living room and anywhere else Lucy had found room to place them. She was certain there were even more baskets waiting for her outside the door of the apartment. She hadn’t opened the door during her seclusion, hadn’t touched the fruit or watered the plants. The idea that a dozen oranges or a clichéd peace plant would alleviate her grief brought on such an unreasonable rage that she’d decided it was best to ignore the whole lot. Outside it was pitch black, except for the sickly yellow-white pools of light illuminating the empty, elevated train tracks above North Sedgwick Avenue.
  • Lorne Bair :: Catalog 21

    Lorne Bair :: Catalog 21

    LORNE BAIR :: CATALOG 21 1 Lorne Bair Rare Books, ABAA PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 2621 Daniel Terrace Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with order and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ standards of professionalism and ethics. PART ONE African American History & Literature ITEMS 1-54 PART TWO Radical, Social, & Proletarian Literature ITEMS 55-92 PART THREE Graphics, Posters & Original Art ITEMS 93-150 PART FOUR Social Movements & Radical History ITEMS 151-194 2 PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. CUNARD, Nancy (ed.) Negro Anthology Made by Nancy Cunard 1931-1933. London: Nancy Cunard at Wishart & Co., 1934.
  • The Songs of Bob Dylan

    The Songs of Bob Dylan

    The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ...............................................................................................................................
  • Addison Morton Walker “Old

    Addison Morton Walker “Old

    ADDISON MORTON WALKER “OLD CARTOONIST NEVER DIE,THEY JUST ERASE AWAY” THIS WAS ONE OF MORT WALKER’S FAVORITE SAYINGS,AND UNTIL HIS FINAL DAYS MORT LIVED BY THE WORD OF HIS MOTTO,ENGAGING MILLIONS THROUGH HIS BELOVED COMICS.AT THE AGE OF 94 MORT DIED PEACEFULLY AT HOME DUE TO COMPLICATIONS FROM THE FLU ON JANUARY 27TH 2018. DUBBED “THE DEAN OF AMERICAN CARTOONING” MORT WAS ONE OF THE MOST PROLIFIC CARTOONISTS IN COMIC ART HISTORY,WITH THE CREATION OF AS MANY AS NINE DIFFERENT SYNDICATED STRIPS TO HIS CREDIT DURING HIS LIFETIME,INCLUDING BEETLE BAILEY,THE MOST WIDELY SYNDICATED STRIP IN THE WORLD.THE FACT THAT BEETLE BAILEY IS STILL IN SYNDICATION TODAY MORE THAN 68 YEARS AFTER IT’S DEBUT,ESTABLISHES MR.WALKER AS THE LONGEST TENURED CARTOONIST ON HIS ORIGINAL CREATION IN THE HISTORY OF COMICS-A RECORD THAT MAY NEVER BE SURPASSED. ADDISON MORTON WALKER WAS BORN IN EL DORADO,KANSAS SEPTEMBER 3RD 1923 AND HAD CARTOONING ASPIRATIONS AT A VERY YOUNG AGE.”IF THERE WAS SUCH A THING AS BEING BORN INTO A PROFESSION ,IT HAPPENED TO ME.” MORT STATED IN THE INTRODUCTION TO HIS AUTOBIOGRAPHY. “FROM MY FIRST BREATH,ALL I EVER WANTED TO BE WAS A CARTOONIST.”HE DREW CARTOONS FOR HIS SCHOOL NEWSPAPER WHEN HE WAS 10,AND SOLD HIS FIRST CARTOON AT THE AGE OF 11 AND HIS FIRST COMIC STRIP,THE LIMEJUICERS,RAN IN THE KANSAS CITY JOURNAL WHEN HE WAS 13. HE SUBMITTED HIS FIRST COMIC STRIP TO A NATIONAL SYNDICATE AT THE AGE OF 15 AND SOLD MAGAZINE CARTOONS ALL OVER THE COUNTRY.BY THE TIME MORT GRADUATED FROM HIGH SCHOOL,HIS WORK WAS POLISHED AND PROFESSIONAL.MORT’S

  • Antelope Valley Press, Thursday, May 16, 2019 D3 No. 0411

    Antelope Valley Press, Thursday, May 16, 2019 D3 DEFLOCKED By Jeff Corriveau MODERATELY CONFUSED By Jeff Stahler REAL LIFE ADVENTURES® PUZZLES By Gary Wise and Lance Aldrich SUDOKU FRAZZ By Jef Mallett FOR BETTER OR FOR WORSE By Lynn Johnston HAGAR THE HORRIBLE By Chris Browne 5-16-19 outlined boxes, called cages, must O Each row and each column must combine using the given operation contain the numbers 1 through 4 (in any order) to produce the target (easy) or 1 through 6 (challenging) numbers in the top-left corners. without repeating. O Freebies: Fill in single-box cages with O The numbers within the heavily the number in the top-left corner. ROSE IS ROSE By Pat Brady and Don Wimmer FRED BASSET By Alex Graham is a registered trademark of ® KenKen KenKen Puzzle LLC. ©2019 Puzzle LLC. All rights reserved. Dist. by Andrews McMeel Syndication. www.kenken.com CANCER (June 21-July 22): Don’t SAGITTARIUS (Nov. 22-Dec. 21): YOUR HOROSCOPE let anger take over when you should be Don’t give in to hogwash. Don’t take an channeling your energy into something expensive detour; stay on course until you THURSDAY, MAY 16, 2019 more constructive. If you want to make a reach your destination. Put your money in a Strive for perfection. Put your reputation change, make positive adjustments. safe place, and keep your personal informa- and status on the line, and show everyone LEO (July 23-Aug. 22): Trust and tion well hidden. what you are capable of doing. You will believe in yourself, not someone who is CAPRICORN (Dec.
  • A Historical and Phonetic Study of Negro Dialect. T

    A Historical and Phonetic Study of Negro Dialect. T

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1937 A Historical and Phonetic Study of Negro Dialect. T. Earl Pardoe Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Speech and Rhetorical Studies Commons Recommended Citation Pardoe, T. Earl, "A Historical and Phonetic Study of Negro Dialect." (1937). LSU Historical Dissertations and Theses. 7790. https://digitalcommons.lsu.edu/gradschool_disstheses/7790 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A Historioal and phonetic Study of Negro Dialect* A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Dootor of Philosophy in Louisiana State University* By T. Earl pardoe 1937 UMI Number: DP69168 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69168 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProOuest ProQuest LLC. 789 East Eisenhower Parkway P.O.
  • HTL-Civilization & Writing TG

    HTL-Civilization & Writing TG

    Civilization and Writing CL949-1CV CLEARVUE/eav THE MOST COMPLETE SOURCE FOR CURRICULUM-ORIENTED A-V MATERIALS History through Literature Civilization and Writing Program #CL949-1CV Running Time—???? Table of Contents Summary . .3 Intended Audience . 4 Presenting the Program . 4 Learning Objectives . 4 History in the Program . 5 Literature in the Program . 5 Key Words and Concepts . 6 Pre-Viewing Suggestions . 7 Discussion: Linking Parts of the Series . 7 Discussion: Introducing the Program and Its Key Words and Concepts . 7 Post-Viewing Suggestions . 8 Content Questions: History . 8 H.O.T. Topics: History . 8 Content Questions: Literature . 9 H.O.T. Topics: Literature . 9 Discussion: Linking Parts of the Series . 11 In-Depth Research . 12 Extra History Study . 12 Extra Literature Study . 12 Chronologies: Class Discussion and Extra Study . 13 Chronology of History Chart: Ancient Civilizations . 14 Chronology of Literature Chart: Ancient Civilizations . 15 Cross-Curricular Explorations . 16 Transcript . 16 Consultants for the Series . 23 Credits . .23 Intended for students in junior high school and above. This program is closed captioned. © CLEARVUE/eav (1-800-253-2788) TEACHER’S GUIDE Summary Civilization and Writing is part of a 12-video History ken traditions, including sacred epics such as the through Literature series that examines the Vedas and philosophical traditions such as the Book connections between historical events and the literary of Changes. The program also briefly describes the figures and works of each era. Other titles in the series Olmecs and other early civilizations of the Americas. are listed on the back of this Teacher’s Guide. Then the program examines several “crossroads civi- The opening scene of Civilization and Writing is a lizations” that arose because of long-distance trade tale from oral tradition that was first written down between other highly organized societies.