2,948 research outputs found
Irene Saville Cummings, her mother Min Hanson Saville, and Janet Jessie Pender-Healy
No full textBlack and white photograph of Irene Saville (later Cummings), her mother Min Hanson Saville, and Janet Jessie Pender-Healy
Anna Healy and baby, Lawrence Healy, George William Healy, William Healy, Jessie (Janet) P. Healy, Lenard Healy, Margrette Rawlins Healy, Grandma Clara Hanson Healy (about 1920)
No full textBlack and white photograph of Anna Healy and baby, Lawrence Healy, George William Healy, William Healy, Jessie (Janet) P. Healy, Lenard Healy, Margrette Rawlins Healy, Grandma Clara Hanson Healy, about 1920
Powers, Janet, March 29, 2011 [Interview]
No full textJanet Powers was interviewed on March 29, 2011 by Melissa Dorrance about growing up during WWII, her international travels, her journey to become a peace activist, and her time at Gettysburg College with global studies and women's studies. She also discussed the civil rights movement and her personal life.Hanson, Carl Arnold; Hammann, Louis J.; Vannorsdall, John W.; Gemmill, Robert M.Carl Arnold Hanson Year
Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
No full textPeer reviewe
Review of Tolkien, J.R.R., trans; ed. Christopher Tolkien. Beowulf: A Translation and Commentary. Houghton Mifflin Harcourt, 2014.
No full textReview of Tolkien's Beowulf translation focuses on its relation to his other works rather than the translation per se
Psyche in New York: The Devil Wears Prada Updates the Myth
No full textThe Psyche and Cupid story is a central myth of female maturation, among its other meanings. At its core, it is a story of a powerful older woman, a mother-figure, controlling a younger woman’s path to maturity, seemingly blocking her way by imposing impossible tasks, but through these tasks teaching her what she needs to learn to become an adult. In the Greek myth, the marker of maturity is full and socially sanctioned union with the god/husband; in the movie The Devil Wears Prada, the marker becomes a job that both “pays the rent” and that the young woman can hold with integrity and independence. I will also look at such diverse sources as the Tam Lin legend, Hayao Miyazake’s Spirited Away, C.S. Lewis’s retelling of the Psyche myth in Till We Have Faces, and the movie Julie & Julia as variants of the underlying “mother”/maiden conflict.This is the Version of Record (VoR) of the article originally published in Mythlore (2012). Mythlore is available in the electronic database Expanded Academic ASAP.Peer reviewe
[Review of] Fastitocalon: Studies in Fantasticism Ancient to Modern 4.1/2, editor in chief Thomas Honegger and Fanfan Chen; and Tolkien Studies XI, editors Michael D.C. Drout, Verlyn Flieger, and David Bratman.
No full textReview of special issue of Fastitocalon and the eleventh issue of Tolkien Studies.This is the Version of Record (VoR) of the article originally published in Mythlore (2015). Mythlore is available in the electronic database Expanded Academic ASAP
Review of The Body in Tolkien's Legendarium, ed. Chris Vaccaro
No full textReview of edited essay collection. Considers each item in the collection individually and the collection as a whole.This is the Version of Record (VoR) of the article originally published in Mythlore (2014). Mythlore is available in the electronic database Expanded Academic ASAP
World Clothing and Fashion: An Encyclopedia of History, Culture, and Social Influence
No full textPurchase of this item is not recommended for reference collections
Barrel-rides and She-elves: Audience and "Anticipation" in Peter Jackson's Hobbit Trilogy
No full textPeter Jackson’s Hobbit trilogy, to the audience that loved the Lord of the Rings films, is an exciting opportunity to revisit Tolkien’s fantastic world and see favorite characters acting out their earlier adventures. The reader of the books, though, is often likely to find the difference in tone between the children’s book and the vastly expanded films jarring. This talk will explore audience expectations, the difficulties of filming a “prequel” after a “sequel,” and issues of “anticipation” in relation to character development
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