1,829 research outputs found
Comunidad y afectos en el documental biográfico lesbiano afroamericano Living with Pride : Ruth C. Ellis @ 100 (1999)
No full textEl activismo lesbiano de Ruth C. Ellis tuvo una valiosa repercusión en la comunidad afroamericana, que se extiende hasta nuestros días a través del Ruth C. Ellis Center, que procura cobijo y oportunidades para la comunidad negra adolescente LGTBIQ+. A pesar de su dilatada trayectoria y efectos colectivos, la figura de Ruth C. Ellis había quedado ensombrecida por el discurso hegemónico. El documental biográfico realizado de manera independiente por Yvonne Welbon (1999) consigue recoger las experiencias y actuaciones de Ellis para trasladar su legado a la cultura popular en un compartir colectivo que honra la inmensa labor de hospitalidad, entendida en términos de resistencia y transformación social, de esta memorable activista.L'activisme lesbia de Ruth C. Ellis va tenir una valuosa repercussió en la comunitat afroamericana, que s' estén fins als nostres dies a través del Ruth C. Ellis Center, que dona recer i oportunitats a la comunitat negra adolescent LGTBIQ+. Malgrat la seva dilatada trajectória i les seves aportacions a la col-lectivitat, la figura de Ruth C. Ellis havia quedat aombrada pe! discurs hegemónic. El documental biografic realitzat de manera independent per Yvonne Welbon (1999) recull les experiencies i actuacions d'Ellis per traslladar el seu llegat a la cultura popular, en un compartir col-lectiu que honra la immensa labor d'hospitalitat, entesa en termes de resistencia i transformació social, d' aquesta memorable activista.The lesbian activism of Ruth C. Ellis hada valuable impact on the Afroamerican community, an impact which continues today through the Ruth C. Ellis Center, as it fights to procure shelter and opportunities for the Black adolescent LGTBIQ+ community. Despite her lengthy trajectory and collective outcomes of her work, the figure of Ruth C. Ellis was overshadowed by hegemonic discourse. The independent biographical documentary by Yvonne Welbon (1999) succeeded in gathering Ellis's experiences and actions and presenting her legacy to popular culture in a collective sharing that honours the immense labor of hospitality, as understood in terms of resistance and social transformation, of this memorable ac tivist
Amon Carter Museum of Western Art; Mrs. Ruth Koerner Oliver of Santa Barbara, California with L. Tuffly Ellis
No full textMrs. Ruth Koerner Oliver of Santa Barbara, California, discusses a western painting by her father, the later W. H. D. Koerner, with L. Tuffly Ellis, assistant director of the Texas State Historical Association, Austin, at an opening of an exhibition of Koerner\u27s works in Amon Carter Museum. Fort Worth Star-Telegram Morning edition January 24, 1969.https://mavmatrix.uta.edu/specialcollections_startelegram1960s/5858/thumbnail.jp
Belonging and not belonging : understanding India in novels by Paul Scott, Ruth Prawer Jhabvala and V.S. Naipaul.
No full textPhDThis thesis is essentially about the "how" and "why" of the Indian
experience as documented in novels by Paul Scott, Ruth Prawer Jhabvala
and V S Naipaul. The study points to the difficulty of arriving at any
conclusive definition of the country and its people. I show that
differences in attitudes, responses or behaviour are both overt and
subtle, and depend upon whether the writer or the character identifies
with the situation or community with which he or she interacts. It is
the individual's sense of belonging or not belonging to his or her own
group - be this along racial, cultural or gender lines - that accounts
for the differing perspectives evident in these novels. The points-of-
view of the outsider and the insider can therefore be seen as
mutual comments upon the other.
Since the struggle between belonging and not belonging becomes acute
when the old meets the new, focus is centred on communities
experiencing change. These include the British in India, West-Indian
Indians and westernised Indians. Despite their differences, all three
communities share similar reasons for either an acceptance or
rejection of the 'Other'. The thesis argues that the need for
emotional stability compels allegiance to the traditional group, while
the desire for individuality encourages surrender to the new. The
former nurtures a sense of belonging while, it is argued, that the
latter is perceived as the hallmark of those who do not belong.
Tensions arise when both these needs demand to be met. What I show to
be ironic in this struggle between belonging and not belonging is that
those things which individuals overtly reject are often unexpressed
parts of their personal pysche. The barrier between "them" and "us" is
therefore very fragile
Autographed photo of Michael E. DeBakey
No full textJohn Alderman, Ruth Etting's stepson, donated these photographs to the Ruth Etting Collection in response to a request from John Moran, the compiler of the collection.Photograph of Michael DeBakey, famous heart surgeon, inscribed 'To Mrs. Ruth Etting Alderman Best wishes Michael E. DeBake
Billy in the low ground
No full textfiddles; guitarsCollected by Ruth N. Blythe Richard Blythe, fiddle
For Mary C. Parler Marvin Wilson, Guitar
Greenville, Texas c. 1946
Reel 391, Items 1 — 9
The items on this reel were dubbed by Mrs. Blythe from records made by her husband, Richard Blythe, and Marvin Wilson.
Item 1. Ragtime Annie (Key of G).
2. Flop Eared Mule.
3. The Arkansas Traveller (Key of D).
4. Soldier's Joy.
5. Soldier's Joy (Key of D).
6. Sally Johnson (Key of G).
7. Billy in the low Ground (Key of C).
The remaining items on this reel were dubbed from records made in Texas at the same time as the above.
Item 8.. Just Because. Played on two guitars and a mandolin by Burl Horton, Raymond Blythe, and a man named Ben, Greenville, Texas 1946
9. Lindsay Waltz. Ellis Lindsay, Greenville, Texas, 1946.
(Ellis Lindsay said that he composed this fiddle piece.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Sally Johnson
No full textfiddles; guitarsCollected by Ruth N. Blythe Richard Blythe, fiddle
For Mary C. Parler Marvin Wilson, Guitar
Greenville, Texas c. 1946
Reel 391, Items 1 — 9
The items on this reel were dubbed by Mrs. Blythe from records made by her husband, Richard Blythe, and Marvin Wilson.
Item 1. Ragtime Annie (Key of G).
2. Flop Eared Mule.
3. The Arkansas Traveller (Key of D).
4. Soldier's Joy.
5. Soldier's Joy (Key of D).
6. Sally Johnson (Key of G).
7. Billy in the low Ground (Key of C).
The remaining items on this reel were dubbed from records made in Texas at the same time as the above.
Item 8.. Just Because. Played on two guitars and a mandolin by Burl Horton, Raymond Blythe, and a man named Ben, Greenville, Texas 1946
9. Lindsay Waltz. Ellis Lindsay, Greenville, Texas, 1946.
(Ellis Lindsay said that he composed this fiddle piece.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Ragtime Annie
No full textfiddles; guitarsCollected by Ruth N. Blythe Richard Blythe, fiddle
For Mary C. Parler Marvin Wilson, Guitar
Greenville, Texas c. 1946
Reel 391, Items 1 — 9
The items on this reel were dubbed by Mrs. Blythe from records made by her husband, Richard Blythe, and Marvin Wilson.
Item 1. Ragtime Annie (Key of G).
2. Flop Eared Mule.
3. The Arkansas Traveller (Key of D).
4. Soldier's Joy.
5. Soldier's Joy (Key of D).
6. Sally Johnson (Key of G).
7. Billy in the low Ground (Key of C).
The remaining items on this reel were dubbed from records made in Texas at the same time as the above.
Item 8.. Just Because. Played on two guitars and a mandolin by Burl Horton, Raymond Blythe, and a man named Ben, Greenville, Texas 1946
9. Lindsay Waltz. Ellis Lindsay, Greenville, Texas, 1946.
(Ellis Lindsay said that he composed this fiddle piece.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Just because
No full textguitars; mandolinsCollected by Ruth N. Blythe Richard Blythe, fiddle
For Mary C. Parler Marvin Wilson, Guitar
Greenville, Texas c. 1946
Reel 391, Items 1 — 9
The items on this reel were dubbed by Mrs. Blythe from records made by her husband, Richard Blythe, and Marvin Wilson.
Item 1. Ragtime Annie (Key of G).
2. Flop Eared Mule.
3. The Arkansas Traveller (Key of D).
4. Soldier's Joy.
5. Soldier's Joy (Key of D).
6. Sally Johnson (Key of G).
7. Billy in the low Ground (Key of C).
The remaining items on this reel were dubbed from records made in Texas at the same time as the above.
Item 8.. Just Because. Played on two guitars and a mandolin by Burl Horton, Raymond Blythe, and a man named Ben, Greenville, Texas 1946
9. Lindsay Waltz. Ellis Lindsay, Greenville, Texas, 1946.
(Ellis Lindsay said that he composed this fiddle piece.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Soldier's joy
No full textfiddles; guitarsCollected by Ruth N. Blythe Richard Blythe, fiddle
For Mary C. Parler Marvin Wilson, Guitar
Greenville, Texas c. 1946
Reel 391, Items 1 — 9
The items on this reel were dubbed by Mrs. Blythe from records made by her husband, Richard Blythe, and Marvin Wilson.
Item 1. Ragtime Annie (Key of G).
2. Flop Eared Mule.
3. The Arkansas Traveller (Key of D).
4. Soldier's Joy.
5. Soldier's Joy (Key of D).
6. Sally Johnson (Key of G).
7. Billy in the low Ground (Key of C).
The remaining items on this reel were dubbed from records made in Texas at the same time as the above.
Item 8.. Just Because. Played on two guitars and a mandolin by Burl Horton, Raymond Blythe, and a man named Ben, Greenville, Texas 1946
9. Lindsay Waltz. Ellis Lindsay, Greenville, Texas, 1946.
(Ellis Lindsay said that he composed this fiddle piece.)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
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