DOCSLIB.ORG

University Microfilms, a XEROX Company, Ann Arbor, Michigan the TANGLED CHAIN;

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Microfilms, a XEROX Company, Ann Arbor, Michigan the TANGLED CHAIN; 72-4488 FOX, Ruth Amelia, 1942- THE TANGLED CHAIN: THE STRUCTURE OF DISORDER IN THE ANATOMY OF MELANCHOLY. The Ohio State University, Ph.D., 1971 Language and L iteratu re, modern University Microfilms, A XEROX Company, Ann Arbor, Michigan THE TANGLED CHAIN; THE STRUCTURE OF DISORDER IN THE ANATOMY OF MELANCHOLY DISSERTATION resented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ruth Amelia Fox, B.A., M.A. * * * * * The Ohio State University 1971 Approved by V AdviserA 1 < Department of English PLEASE NOTE: Some Pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS His speech was like a tangled chain; nothing impaired, but all disordered. —Shakespeare, A Mi dsummer—Night1 s Dream And this is that Homer's golden chain, which reacheth down from-heaven to earth, by which every creature i3 annexed, and depends on h is Creator. —Burton, The Anatomy of Melancholy PREFATORY NOTE In preparing this thesis I have used the Everyman edition of the Anatomy of Melancholy, ed. Holbrook Jackson (New York, 1952)> 5 volumes. This is an edition of the 1 6^1 Anatomy corrected by the f if th (1658 ) edition. I have given full references in my paper as follows: (I.2.1.6;215) means Partition and Volume I. section 2. mem­ ber 1. subsection 6; page 215* References closely following on a full citation from the same subsection, or in an extended argument concern­ ing one subsection are given as page numbers only. Citations to the Preface in Volume I: (Preface, 97)> except in Chapter iv, where only the page number is given. When quoting from Burton, I have tried where possible to ex­ clude interpolated material, so that Jackson's translations have been regularly and sile n tly expunged; on the other hand, I have sometimes attempted to work paraphrases into my text when Burton himself did not translate and where clarification seemed advisable, and here Jackson's translations served as guide. In a few places I have thought it best to leave the editor's renderings of Burton's Latin in situ, and they appear bracketed as in his text; or I have cited them instead of the Latin, in which case the fact is noted in the parenthetical documen­ tation. In sum, ellipses in quoted passages indicate only matter excised from Burton's text. A few typographical errors in the Every­ iii man text have been silently corrected. I should like to thank Simon and Schuster, Inc., for kindly permitting me to use a passage from Rene Dubos' The Torch of Life. The second chapter of this study was originally written as my master's thesis (The Ohio State University, 1966), under the direction of* Professor Joan Y/ebber. Her comments and those of Professor Robert 0. Jones vfith regard to that chapter aided me greatly in finishing the project. Finally, it is not only meet and salutary, but downright plea­ sant at this point to be able to express appreciation for an adviser's teaching, general aid and comfort, and terrific insight into one's major and minor stupidities. I want to thank Joan Y/ebber for all of these, and fo r her friendship. TABLE OF CONTENTS Pago PREFATORY NOTE....................................................................................... i i i Chapter I . THE CUTTER'S ART.................................................................. 1 ■ I I . THIS NEW SCIENCE.................................................................. 54 i. Knowledge a3 Question: Definition i i . Knowledge in Defect: Cause i i i . Knowledge as Answer: Cure iv . The Pertinence of Knowledge I I I . LOVE'S COMMENT............................................................................102 i. Equivocation: Love is Charity ii. Equivocation: Love i3 Passion iii. Equivocation: Love is God IV. FACTS OF TIME AND SPIRIT ............ 172 i . Argumentum ii. Personae & Materia iii. Modus Operandi V. THE PROSODY OF THOUGHT.......................................................... 255 SELECT BIBLIOGRAPHY .....................................................248 *«>• v CHAPTER I THE CUTTER'S A.HP Ten distinct squares here seen apart, Are joined in one by cutter's art, —Burton, "The Argument o f the Frontispiece" The Anatomy of Melancholy, a book more often read in part than as a whole, criticized as art yet only with some discomfort approached as an a r tif a c t, less easily comprehended than i t is dissected, th is medical treatise written by an Anglican divine holds a peculiar place in the canon of seventeenth-century English-prose literature, Robert Burton forged the Anatomy out of his Renaissance scholar's familiarity with the literature of Western civilization, working centuries of authors into a compendium of science, philosophy, poetry, history, and divinity which contains examples of numerous lite ra ry genres yet re­ mains oui generis, the singular expression of its author's humane know­ ledge, Unlike other Renaissance "anatomies" generally accounted to be primarily artistic creations—Euphues, for example—the Anatomy of Melancholy actually contains a scientific discourse treating a medical subject by means of tra d itio n a l methodology i n a trad itio n al schema. And unlike other Renaissance studies of melancholy'—Timothy B right's, fo r example—the Anatomy ha3 alwaya been accepted less for what i t say3 about a disease than for what it is, a pleasing and useful encyclopedia of human ideas. It is a book which, when its debts to other authors and its connections with various genres have been acknowledged, still demands to be confronted on its own terms as a unique artistic creation. The reading of the Anatomy presented in the following study is the re­ sult of an attempt to meet that demand. To read the Anatomy on its own terms is to deal with form. Among the premises with which this study necessarily starts is the idea that the art of a literary work like the Anatomy may be described as a conjunction of its themes and its structure, and that such a des­ cription will reveal the artist*s design in the work and allow for our estimation of his artistry. Formal analysis is not, of course, the only method criticism may employ, and i t may not even be universally the best method. But the Renaissance had a great respect for the capa­ bility of the artificial construct and the artificial mode of expres­ sion to say what the merely natural cannot—a respect evidenced, just in Burton's own century, in the conceits, even the shapes, of meta­ physical poetry as in the design of Paradise Lost—and Burton's book is a paradigm among artistic work3 that declare their meaning through artificial structure. We are accustomed to looking, as a recent study of Burton's use of form points out, for qualities of clarity, coherence, and unity in works of a r t, but the Renaissance did not have our p a rti­ cular c ritic a l biases and worked with trad itio n s of composition which allowed for a loose, encyclopedic, rather than a tightly organic ap- proach to the treatment of subjects. Yet the Anatomy, with'its com­ 1 Daniel Henry Finlay, "A Study of Form in the Anatomy of Melan­ choly, 11 Diss. University of Virginia 1966, pp. 11-12 et passim. Fin­ lay '3 dissertation, as my remarks here and elsewhere will indicate', plicated series of partitions and sections, insists upon its structure to the point of having an exoskeleton in the form of its synoptic tables, so that either to recognize a3 we must that Burton's art is not directed toward f u lf illin g modern ideals of a rtis tic unity, or to recognize the undisputedly encyclopedic qualities of his book, does not allow us to ignore the book's highly artificial structure but com­ pels us to question seriously whether Burton did not use that structure as the primary means of artistic statement in the Anatomy. Finlay's answer is negative; he decides that the methods of organization, the definition and division evidenced in the partitions, sections, members, and subsections of the book, provide a framework for the material of ■ the Anatomy without functioning as the means whereby Burton discovers his meaning to himself and his readers (see Finlay, Ch. i i ) . While I do not disagree with some of his argument, my own answer is positive. My reading of the Anatomy forces me to conclude that Burton stressed the explicit structure because it is of the essence of the book. The structure is artificial, a complicated pattern of logical organization modified by the tendency of the subject matter to defy logical control; and the book is thus a statement of i t s e l f , a creation which declares to its readers at every turn the art and the artifice of its form. The Anatomy must be seen as a whole, for the salient feature of touches on some of the same territory as does my reading of Burton's structure, though he is more interested in analogous kinds of writing and in the light these may throw on the Anatomy. His first chapter examines w ritings of Seneca, John of Salisbury, and Montaigne in order to show that unspecialized, moral rather than technical, collective notions of composition were influential in the tradition of which Burton's book became a part, and that shorter units within composite structures were normal. i t s form is i t s a b ility .to comprehend an extreme diversity of statement in a single book: from the pharaocopoeia of a medical treatise to a consolation of philosophy, from satirical denunciations of human folly to sermons on charity and despair, from analyses of man's physiology to descriptions of the cosmos or of the workings of good and evil s p irits , the Anatomy is by its very nature a comprehensive work on a grand scale.
Load more

Recommended publications
  • Ottawa (Ontario, Canada) PARTNER MANAGED Reseller Online Auction - Armstrong Street
    09/25/21 03:53:35 Ottawa (Ontario, Canada) PARTNER MANAGED Reseller Online Auction - Armstrong Street Auction Opens: Wed, Apr 15 5:00pm ET Auction Closes: Fri, Apr 24 8:00pm ET Lot Title Lot Title 0001 Antique Sessions brand Gingerbread Clock, 0029 lot of 6 Amazing Spiderman comics, high working grades 0002 NHL Charity Golf jersey, hand signed by 0030 lot of 8 Batman comics, high grades players, Hawerchuk and Simpson 0031 lot of 7 Captain America comics, high grades 0003 G.I. Joe 12" figure with Safari outfit kit 0032 lot of 8 Daredevil comics, high grades 0004 G.I. Joe Desert Soldier 12 inch figure 0033 lot of 8 Batman in Detective comics, high 0005 G.I. Joe Virus Pandemic Fighter, 12 inch figure grades 0006 Patrick Roy, Habs, hand signed card 0034 lot of 6 Mickey Mouse comics, 1970s 0007 Thomas Chabot, Senators, hand signed card 0035 lot of 8 Superman comics, high grades 0008 wooden topper sign for Erie Digger claw 0036 lot of 8 Avengers comics, high grades gaming machine 0037 diecast Corgi Batmobile in box 0009 1970s Viewmaster with reels, box and 0038 lot of 3 early Story of Our Nations books, 1891 paperwork 0039 2nd lot of 3 early Story of Our Nations books, 0010 collection of 28 old metal soldier figurines 1891 0011 complete set of 12 Nascar Matchbooks 0040 huge lot of over 400 Magic cards 0012 Whiz brand Commando rare can, 1940s 0041 2nd huge lot of over 400 Magic cards 0013 original World War I canteen, British issue 0042 lot of over 300 Pokemon cards 0014 lot of 6 Stereoview cards, early 1900s 0043 sealed metal box of Star Wars
    [Show full text]
  • 2009 Land Management Plan
    2009 LAND MANAGEMENT PLAN (Updated Annual Harvest Plan -2014) Itasca County Land Department 1177 LaPrairie Avenue Grand Rapids, MN 55744-3322 218-327-2855 ● Fax: 218-327-4160 LAND MANAGEMENT PLAN Itasca County Land Department Acknowledgements This Land Management Plan was produced by Itasca County Land Department employees Garrett Ous, Dave Marshall, Michael Gibbons, Adam Olson, Bob Scheierl, Roger Clark, Kory Cease, Steve Aysta, Tim Stocker, Perry Leone, Wayne Perreault, Blair Carlson, Loren Eide, Bob Rother, Andrew Brown, Del Inkman, Darlene Brown and Meg Muller. Thank you to all the citizens for their sincere input and review during the public involvement process. And thank you to Itasca County Commissioners Lori Dowling, Karen Burthwick, Rusty Eichorn, Catherine McLynn and Mark Mandich for their vision and final approval of this document. Foreword This land management plan is designed for providing vision and direction to guide strategic and operational programs of the Land Department. That vision and direction reflects a long standing connection with local economic, educational and social programs. The Land Department is committed to ensuring that economic benefits and environmental integrity are available to both present and future generations. That will be accomplished through actively managing county land and forests for a balance of benefits to the citizens and for providing them with a sustained supply of quality products and services. The Department will apply quality forestland stewardship practices, employ modern technology and information, and partner with other forest organizations to provide citizens with those quality products and services. ________________________________ Garrett Ous September, 2009 Itasca County Land Commissioner 1177 LaPrairie Avenue Grand Rapids, MN 55744-3322 218-327-2855 ● Fax: 218-327-4160 ICLD - LMP Section i., page 1 of 3 Itasca County Land Department Land Management Plan Table of Contents i.
    [Show full text]
  • Playwright and Minister
    PLAYWRIGHT AND MAN OF GOD: RELIGION AND CONVENTION IN THE COMIC PLAYS OF JOHN MARSTON by Blagomir Georgiev Blagoev A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Blagomir Georgiev Blagoev (2010) PLAYWRIGHT AND MAN OF GOD: RELIGION AND CONVENTION IN THE COMIC PLAYS OF JOHN MARSTON Blagomir Georgiev Blagoev Doctor of Philosophy Graduate Department of English University of Toronto 2010 ABSTRACT John Marston’s literary legacy has inevitably existed in the larger-than-life shadows of his great contemporaries William Shakespeare and Ben Jonson. In the last two centuries, his works were hardly taken on their own terms but were perceived instead in overt or implicit comparison to Shakespeare’s or Jonson’s. As a result, Marston’s plays acquired the lasting but unfair image of haphazard concoctions whose cheap sensationalism and personal satire often got them in trouble with the authorities. This was the case until recently, especially with Marston’s comic drama. Following revisionist trends, this study sets out to restore some perspective: it offers a fresh reading of Marston’s comic plays and collaborations—Antonio and Mellida, What You Will, Jack Drum’s Entertainment, The Dutch Courtesan, The Malcontent, Parasitaster, Eastward Ho, and Histrio-Mastix—by pursuing a more nuanced contextualization with regard to religious context and archival evidence. The first central contention here is that instead of undermining political and religious authority, Marston’s comic drama can demonstrate consistent conformist and conservative affinities, which imply a seriously considered agenda. This study’s second main point is that the perceived failures of Marston’s comic plays—such as tragic ii elements, basic characterization, and sudden final reversals—can be plausibly read as deliberate effects, designed with this agenda in mind.
    [Show full text]
  • From Place to Place
    From Place to Place By Irvin S. Cobb FROM PLACE TO PLACE CHAPTER I THE GALLOWSMITH THIS man that I have it in mind to write about was, at the time of which I write, an elderly man, getting well along toward sixty-five. He was tall and slightly stooped, with long arms, and big, gnarled, competent-looking hands, which smelled of yellow laundry soap, and had huge, tarnished nails on the fingers. He had mild, pale eyes, a light blue as to colour, with heavy sacs under them, and whitish whiskers, spindly and thin, like some sort of second-growth, which were so cut as to enclose his lower face in a nappy fringe, extending from ear to ear under his chin. He suffered from a chronic heart affection, and this gave to his skin a pronounced and unhealthy pallor. He was neat and prim in his personal habits, kind to dumb animals, and tolerant of small children. He was inclined to be miserly; certainly in money matters he was most prudent and saving. He had the air about him of being lonely. His name was Tobias Dramm. In the town where he lived he was commonly known as Uncle Tobe Dramm. By profession he was a public hangman. You might call him a gallowsmith. He hanged men for hire. So far as the available records show, this Tobias Dramm was the only man of his calling on this continent. In himself he constituted a specialty and a monopoly. The fact that he had no competition did not make him careless in the pursuit of his calling.
    [Show full text]
  • The Saint's Tragedy 1
    The Saint's Tragedy 1 The Saint's Tragedy The Project Gutenberg eBook, The Saint's Tragedy, by Charles Kingsley This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Saint's Tragedy Author: Charles Kingsley Release Date: February 27, 2004 [eBook #11346] Language: English Character set encoding: US-ASCII The Saint's Tragedy 2 ***START OF THE PROJECT GUTENBERG EBOOK THE SAINT'S TRAGEDY*** Transcribed by David Price, email [email protected] THE SAINT'S TRAGEDY PREFACE BY THE REV. F. D. MAURICE, M.A. (1848) The writer of this play does not differ with his countrymen generally, as to the nature and requirements of a Drama. He has learnt from our Great Masters that it should exhibit human beings engaged in some earnest struggle, certain outward aspects of which may possibly be a spectacle for the amusement of idlers, but which in itself is for the study and the sympathy of those who are struggling themselves. A Drama, he feels, should not aim at the inculcation of any definite maxim; the moral of it lies in the action and the character. It must be drawn out of them by the heart and experience of the reader, not forced upon him by the author. The men and women whom he presents are not to be his spokesmen; they are to utter themselves freely in such language, grave or mirthful, as best expresses what they feel and what they are.
    [Show full text]
  • Rd., Urbana, Ill. 61801 (Stock 37882; $1.50, Non-Member; $1.35, Member) JOURNAL CIT Arizona English Bulletin; V15 N1 Entire Issue October 1972
    DOCUMENT RESUME ED 091 691 CS 201 266 AUTHOR Donelson, Ken, Ed. TITLE Science Fiction in the English Class. INSTITUTION Arizona English Teachers Association, Tempe. PUB DATE Oct 72 NOTE 124p. AVAILABLE FROMKen Donelson, Ed., Arizona English Bulletin, English Dept., Ariz. State Univ., Tempe, Ariz. 85281 ($1.50); National Council of Teachers of English, 1111 Kenyon Rd., Urbana, Ill. 61801 (Stock 37882; $1.50, non-member; $1.35, member) JOURNAL CIT Arizona English Bulletin; v15 n1 Entire Issue October 1972 EDRS PRICE MF-$0.75 HC-$5.40 PLUS POSTAGE DESCRIPTORS Booklists; Class Activities; *English Instruction; *Instructional Materials; Junior High Schools; Reading Materials; *Science Fiction; Secondary Education; Teaching Guides; *Teaching Techniques IDENTIFIERS Heinlein (Robert) ABSTRACT This volume contains suggestions, reading lists, and instructional materials designed for the classroom teacher planning a unit or course on science fiction. Topics covered include "The Study of Science Fiction: Is 'Future' Worth the Time?" "Yesterday and Tomorrow: A Study of the Utopian and Dystopian Vision," "Shaping Tomorrow, Today--A Rationale for the Teaching of Science Fiction," "Personalized Playmaking: A Contribution of Television to the Classroom," "Science Fiction Selection for Jr. High," "The Possible Gods: Religion in Science Fiction," "Science Fiction for Fun and Profit," "The Sexual Politics of Robert A. Heinlein," "Short Films and Science Fiction," "Of What Use: Science Fiction in the Junior High School," "Science Fiction and Films about the Future," "Three Monthly Escapes," "The Science Fiction Film," "Sociology in Adolescent Science Fiction," "Using Old Radio Programs to Teach Science Fiction," "'What's a Heaven for ?' or; Science Fiction in the Junior High School," "A Sampler of Science Fiction for Junior High," "Popular Literature: Matrix of Science Fiction," and "Out in Third Field with Robert A.
    [Show full text]
  • Voyages Towards Utopia: Mapping Utopian Spaces in Early-Modern French Prose
    Voyages Towards Utopia: Mapping Utopian Spaces in Early-Modern French Prose By Bonnie Griffin Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in French Literature March 31st, 2020 Nashville, TN Approved: Holly Tucker, PhD Lynn Ramey, PhD Paul Miller, PhD Katherine Crawford, PhD DEDICATIONS To my incredibly loving and patient wife, my supportive family, encouraging adviser, and dear friends: thank you for everything—from entertaining my excited ramblings about French utopia, looking at strange engravings of monsters on maps with me, and believing in my project. You encouraged me to keep working and watched me create my life’s most significant work yet. ii ACKNOWLEDGEMENTS I would like to thank my adviser and mentor Holly Tucker, who provided me with the encouragement, helpful feedback, expert time-management advice, and support I needed to get to this point. I am also tremendously grateful to my committee members Lynn Ramey, Paul Miller, and Katie Crawford. I am indebted to the Robert Penn Warren Center for the Humanities, for granting me the necessary space, time, and resources to prioritize my dissertation. I wish to thank the Department of French and Italian, for taking a chance on a young undergrad. I also wish to acknowledge the Vanderbilt University Special Collections team of archivists and librarians, for facilitating my access to the texts that would substantially inform and inspire my studies, as well as the Beinecke Rare Book and Manuscript Library. I also wish to thank Laura Dossett and Nathalie Debrauwere-Miller for helping me through the necessary processes involved in preparing for my defense.
    [Show full text]
  • THEOLOGICAL ISSUES in POST-APOCALYPTIC FICTION and CORMAC Mccarthy's the ROAD a Thesis Submitted
    “EVER IS NO TIME AT ALL”: THEOLOGICAL ISSUES IN POST-APOCALYPTIC FICTION AND CORMAC McCARTHY’S THE ROAD A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Zachary Christian Swartz, B.A. Georgetown University Washington D.C. December 3, 2009 “EVER IS NO TIME AT ALL”: THEOLOGICAL ISSUES IN POST-APOCALYPTIC FICTION AND CORMAC McCARTHY’S THE ROAD Zachary Christian Swartz, B.A. Mentor: William O’Brien, Ph.D. ABSTRACT As a sub-genre of science fiction, post-apocalyptic fiction typically presents a scenario in which human life continues after some cataclysmic event has decimated the world’s population. Its aims are thus congruent with those of biblical apocalyptic literature, which characteristically promises that the current world will be destroyed and replaced with one that is new and reserved only for the steadfast and the faithful. This thesis explores science fiction’s compatibility with biblical apocalyptic literature and examines how post-apocalyptic fiction has become one of the most relevant modern genres for serious theological consideration. To this end, this thesis considers the literary influences of science fiction and biblical apocalyptic literature, the ideas and imagery of the biblical book of Revelation, and the theological significance of Cormac McCarthy’s The Road , a representative work of post-apocalyptic fiction. Such an examination reveals the ways in which post- apocalyptic fiction utilizes the themes and symbols of biblical and apocalyptic literature to present similar warnings, similar promises, and similar appeals to steadfast faith.
    [Show full text]
  • On the Folk Circuit, Actor Jeff Daniels Aims to Be Fingerpickin' Good
    on the Leno show/ Singing some song that nobody On the folk circuit, knows/ He’s got an Oscar, now he’s got a guitar/ Just actor Jeff Daniels like that, he’s a rock-and-roll star.” So it’s meant as a compliment to say that you’d likely aims to be never guess it was Daniels playing if you heard one of fingerpickin’ good his folk tunes on the radio. People tend to get a “a bit of shock,” when they hear him for the first time, says Daniels, an able By Lauren Daley GLOBE CORRESPONDENT fingerpicker who has a Martin guitar named after him AUGUST 02, 2018 (the Martin OM Jeff Daniels Custom Signature Edition), nine albums on Spotify, and a penchant for mixing witty wordplay with serious heartache. His jukebox heartbreaker “She Don’t Love Me,” for example, is straight from the John Prine school of songwriting (“It’s not that she don’t love me, she just don’t like me anymore.”) The Emmy- and Golden Globe-winning, Tony- nominated actor is known to fans, depending on the fan, as the guy from “Something Wild” or “Dumb and Dumber” or “The Squid and the Whale” or “Terms of Endearment” or HBO’s “The Newsroom” . The genre-blurring list goes on. Daniels recently earned two more Emmy nods — supporting actor in a limited series in the Netflix western “Godless,” and lead actor in a limited series in Hulu’s “The Looming Tower.” LUKE PLINE Jeff Daniels Yet bonafide musicians, it would seem, have welcomed Daniels into their tribe: He’s shared the When you hear that an actor is venturing into music, stage with Lyle Lovett, John Hiatt, Joe Ely, Guy Clark, you don’t expect to be wowed.
    [Show full text]
  • NIGP to UNSPSC Commodity Mapping 5-Digit NIGP Code NIGP Description UNSPSC Class Mapping UNSPSC Class Description 005-00 ABRASIV
    NIGP to UNSPSC Commodity Mapping 5-Digit NIGP NIGP Description UNSPSC Class Mapping UNSPSC Class Description Code 005-00 ABRASIVES 311915 Abrasives and abrasive media 005-05 Abrasive Equipment and Tools 311915 Abrasives and abrasive media 005-14 Abrasives, Coated: Cloth, Fiber, Sandpaper, etc. 311915 Abrasives and abrasive media 005-21 Abrasives, Sandblasting, Metal 311915 Abrasives and abrasive media 005-28 Abrasives, Sandblasting (Other than Metal) 311915 Abrasives and abrasive media 005-42 Abrasives, Solid: Wheels, Stones, etc. 311916 Abrasive wheels 005-56 Abrasives, Tumbling (Wheel) 311915 Abrasives and abrasive media 005-63 Grinding and Polishing Compounds: Carborundum, Diamond, etc. 231315 Grinding and sanding and polishing equipment and supplies 005-70 Pumice Stone 111116 Stone 005-75 Recycled Abrasives Products and Supplies 311915 Abrasives and abrasive media 005-84 Steel Wool, Aluminum Wool, Copper Wool, and Lead Wool 311915 Abrasives and abrasive media 010-00 ACOUSTICAL TILE, INSULATING MATERIALS, AND SUPPLIES 301416 Specialty insulation 010-05 Acoustical Tile, All Types (Including Recycled Types) 301616 Ceiling materials 010-08 Acoustical Tile Accessories: Channels, Grids, Mounting Hardware, 301616 Ceiling materials 010-09 Acoustical Tile Insulation 301416 Specialty insulation 010-11 Adhesives and Cements, Acoustical Tile 301416 Specialty insulation 010-14 Adhesives and Cements, Insulation 301416 Specialty insulation 010-17 Aluminum Foil, etc. 301020 Foil 010-30 Bands, Clips, and Wires (For Pipe Insulation) 311623 Mounting hardware 010-38 Clips, Pins, etc. (For Duct Insulation) 301416 Specialty insulation 010-41 Cork: Blocks, Boards, Sheets, etc. 601240 Cork craft supplies and accessories 010-45 Exterior Insulation and Finish Systems 301521 Surface 010-53 Fiberglass: Batts, Blankets and Rolls 301415 Thermal insulation 010-56 Foam Glass: Blocks, Sheets, etc.
    [Show full text]
  • Azbill Sawmill Co. I-40 at Exit 101 Southside Cedar Grove, TN 731-968-7266 731-614-2518, Michael Azbill [email protected] $6,0
    Azbill Sawmill Co. I-40 at Exit 101 Southside Cedar Grove, TN 731-968-7266 731-614-2518, Michael Azbill [email protected] $6,000 for 17,000 comics with complete list below in about 45 long comic boxes. If only specific issue wanted email me your inquiry at [email protected] . Comics are bagged only with no boards. Have packed each box to protect the comics standing in an upright position I've done ABSOLUTELY all the work for you. Not only are they alphabetzied from A to Z start to finish, but have a COMPLETE accurate electric list. Dates range from 1980's thur 2005. Cover price up to $7.95 on front of comic. Dates range from mid to late 80's thru 2005 with small percentage before 1990. Marvel, DC, Image, Cross Gen, Dark Horse, etc. Box AB Image-Aaron Strain#2(2) DC-A. Bizarro 1,3,4(of 4) Marvel-Abominations 2(2) Antartic Press-Absolute Zero 1,3,5 Dark Horse-Abyss 2(of2) Innovation- Ack the Barbarion 1(3) DC-Action Comis 0(2),599(2),601(2),618,620,629,631,632,639,640,654(2),658,668,669,671,672,673(2),681,684,683,686,687(2/3/1 )688(2),689(4),690(2),691,692,693,695,696(5),697(6),701(3),702,703(3),706,707,708(2),709(2),712,713,715,716( 3),717(2),718(4),720,688,721(2),722(2),723(4),724(3),726,727,728(3),732,733,735,736,737(2),740,746,749,754, 758(2),814(6), Annual 3(4),4(1) Slave Labor-Action Girl Comics 3(2) DC-Advanced Dungeons & Dragons 32(2) Oni Press-Adventrues Barry Ween:Boy Genius 2,3(of6) DC-Adventrure Comics 247(3) DC-Adventrues in the Operation:Bollock Brigade Rifle 1,2(2),3(2) Marvel-Adventures of Cyclops & Phoenix 1(2),2 Marvel-Adventures
    [Show full text]
  • Sting in the Tale Music Credits
    composer Allan Zavod Music Fairlight Performances Allan Zavod Music Recorded at Music & Effects Sound Laboratory Melbourne Scoring Engineers Doron Kipen Mark Ingram Composer Allan Zavod: At one time, Allan Zavod's web site could only be found at the Wayback Machine here, with Zavod's wiki, here, replicated much of the information on his original website. Subsequently, Zavod’s eponymous website revived, and could be found here. Googling his name also produced much information, performances on YouTube, etc. Zavod's website provided this CV up to 2001, and a credit listing: Often described as a keyboard wizard Allan Zavod a graduate of Melbourne Conservatorium was discovered by Duke Ellington who after hearing him playing jazz piano arranged for him to study at Berklee School of Music where he later held a post as professor of music. Based in the USA for 20 years he played, recorded and toured with many music greats including Glen Miller Orchestra, Woody Herman Orchestra, Maynard Ferguson Big Band, Cab Calloway, Jean Luc-Ponty and George Benson, culminating in a 1984 world tour with the legendary Frank Zappa. America’s music bible "Downbeat Magazine" named Zavod one of the USA’s Top 10 Keyboardists of the 80’s. He has received grants and commissions to compose, orchestrate and perform original works throughout the world. Representing Australia in 1987 he won the Asia Broadcasting Union Popular Song Contest in Kuala Lumper viewed by an audience exceeding 800 million. In 1988 the Australia Council commissioned him to compose "Concerto Australiana" a classical/jazz fusion three movement work for piano, orchestra and jazz ensemble which was performed at the Bicentennial Australia Day Celebrations, live on ABC television at the Sydney Opera House.
    [Show full text]