1,384 research outputs found
Black-eyed Susy; Blackeyed Busy
No full textbanjosCollected for M.C. Parler Collected and transcribed
by Sara Jo Fendley
Mt. View, Ark., Jan. 4, 1964
Reel 419
XIV ROCK MY DARLIN' SUGAR IN THE CANE
Item 14
(Played by Mr. Virgil Johnson on the banjo. In this one he is agin doing the method called knocking. He learned this song from his father and he heard his mother sing the words to it but he couldn't remember them)
XV SAILIN' ACROSS THE SEA LOVE Item 15
(Played by Virgil Johnson on the banjo. He is again knocking the tune. Mr. sanders knew the words to this one but wouldn't sing them)
REEL 420, Item 1
XVI BANJO TUNE___________
(Played by Virgil Johnson on the banjo. He is rapping or knocking a fiddle tune that his father, Jesse Johnson learned from Wayne Morrison of Timbo, Arkansas)
XVII BLACKEYED SUSY Item 2
(Played by virgil Johnson on the banjo. He is using the same style as was mentioned several times above. He also learned this one from his father)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Banjo tune
No full textbanjosCollected for M.C. Parler Collected and transcribed
by Sara Jo Fendley
Mt. View, Ark., Jan. 4, 1964
Reel 419
XIV ROCK MY DARLIN' SUGAR IN THE CANE
Item 14
(Played by Mr. Virgil Johnson on the banjo. In this one he is agin doing the method called knocking. He learned this song from his father and he heard his mother sing the words to it but he couldn't remember them)
XV SAILIN' ACROSS THE SEA LOVE Item 15
(Played by Virgil Johnson on the banjo. He is again knocking the tune. Mr. sanders knew the words to this one but wouldn't sing them)
REEL 420, Item 1
XVI BANJO TUNE___________
(Played by Virgil Johnson on the banjo. He is rapping or knocking a fiddle tune that his father, Jesse Johnson learned from Wayne Morrison of Timbo, Arkansas)
XVII BLACKEYED SUSY Item 2
(Played by virgil Johnson on the banjo. He is using the same style as was mentioned several times above. He also learned this one from his father)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Sailin’ across the sea love
No full textbanjosCollected for M.C. Parler Collected and transcribed
by Sara Jo Fendley
Mt. View, Ark., Jan. 4, 1964
Reel 419
XIV ROCK MY DARLIN' SUGAR IN THE CANE
Item 14
(Played by Mr. Virgil Johnson on the banjo. In this one he is agin doing the method called knocking. He learned this song from his father and he heard his mother sing the words to it but he couldn't remember them)
XV SAILIN' ACROSS THE SEA LOVE Item 15
(Played by Virgil Johnson on the banjo. He is again knocking the tune. Mr. sanders knew the words to this one but wouldn't sing them)
REEL 420, Item 1
XVI BANJO TUNE___________
(Played by Virgil Johnson on the banjo. He is rapping or knocking a fiddle tune that his father, Jesse Johnson learned from Wayne Morrison of Timbo, Arkansas)
XVII BLACKEYED SUSY Item 2
(Played by virgil Johnson on the banjo. He is using the same style as was mentioned several times above. He also learned this one from his father)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Rock my darlin’ sugar in the cane
No full textbanjosCollected for M.C. Parler Collected and transcribed
by Sara Jo Fendley
Mt. View, Ark., Jan. 4, 1964
Reel 419
XIV ROCK MY DARLIN' SUGAR IN THE CANE
Item 14
(Played by Mr. Virgil Johnson on the banjo. In this one he is agin doing the method called knocking. He learned this song from his father and he heard his mother sing the words to it but he couldn't remember them)
XV SAILIN' ACROSS THE SEA LOVE Item 15
(Played by Virgil Johnson on the banjo. He is again knocking the tune. Mr. sanders knew the words to this one but wouldn't sing them)
REEL 420, Item 1
XVI BANJO TUNE___________
(Played by Virgil Johnson on the banjo. He is rapping or knocking a fiddle tune that his father, Jesse Johnson learned from Wayne Morrison of Timbo, Arkansas)
XVII BLACKEYED SUSY Item 2
(Played by virgil Johnson on the banjo. He is using the same style as was mentioned several times above. He also learned this one from his father)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' Eneados
No full textThe Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling.
Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows.
The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling.
Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil
Bunker Hill
No full textbanjos; guitarsCollected for M.C.Parler Collected and transcribed by Sara Jo Fendley
Mt. View, Ark., Jan. 4,1964 Reel 419, Item 10
X CRIPPLE CREEK
(Played by Mr. Virgil Johnson on the banjo. He learned it from Callie Dodson of Timbo, Arkansas, about 1920. Accompanied by Doc Hollister on the guitar, Sara Jo Fendley with the spoons, and Bill Wade jig dancing) (Words are sung spontaneously by Mr. Howard Wade)
Goin' up Cripple Creek, goin' in a run
goin' up Cripple Creek to have a little fun
Girls up Cripple Creek, waitin' in the shade waitin' for the money that the pore boy made
Roll my britches legs, to my knees Wade ole Cripple Creek, where I please
Goin' up Cripple Creek, goin' in a run
goin' up Cripple Creek to have a little fun
(Played by Virgil Johnson on the banjo. He learned it from his father, Jesse Johnson. Doc Hollister accompanied on the guitar)
(Played by Virgil Johnson on the banjo. In this one he does the old time rapping or knocking, when the thumb string is hit each time to keep the rhythm, Sara Jo Fendley playing the spoons in the background and Mr. Howard Wade jigging. He learned this one also from his father)
XI: BUNKER HILL
Item 11
XII SUGAR HILL
Item 12Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Spies-Virgil Mine drill tools
No full textDate scanned: 2002-5-23.USBM #60272; String of drill tools - 8-inch churn-drill bit attached - used in process of making a 15-inch pilot hole for a 7-foot diameter air shaft from surface at Spies-Virgil Mine, The Cleveland-Cliffs Iron Company, Iron River, Michigan. (Note bailer suspended alongside of drill tools.) (Layne-Northwest Company, Drilling contractors.) - E. W. Johnson - March 27, 1945.Held in the Russell L. and Lyn Wood Mining History Archive, Arthur Lakes Library, Colorado School of Mines.Donor: United States Bureau of Mines.The Spies-Virgil underground mine near Iron River in the Menominee Iron Range was operated by the Cleveland-Cliffs Iron Company
[West Texas Walk of Fame inductees Virgil Johnson and Buddy Knox]
No full textUndated photograph of West Texas Walk of Fame inductees Virgil Johnson and Buddy Knox. The accompanying caption states: "The West Texas Walk of Fame has two new members, Virgil Johnson and Buddy Knox. They were inducted in front of around 200 people Wed night."
Barn at Virgil Park Farm, 3 Miles N & E of Colton SD, Minnehaha County
No full text4 x 6 photograph, red barn with a concrete foundation, row of windows and a door on the side, windows and a door on the front, gambrel roof with hay hood and two ventilators, sign on the front says "1929 Happy Acres"H2010-041 Barns Vernell Johnson Coll. Box 2[stamp] No. 23A 35063 [photographer stamp] Photo By: Vernell Johnson, Lyons, S. D. 3 N & E of Colton, S. D. Virgil Park Farm 192
Warner Watson letter to Virgil L. Baker, March 10, 1950
No full textA letter addressing the development of the prospective musical for the University of Arkansas' Fine Arts Center opening.Warner Watson, of the American National Theatre and Academy, recognized the potential of developing an Arkansas centered musical based on Charles Morrow Wilson's work for attracting national attention. Virgil Baker was himself an author, playwright, and director. He taught and served as the department head in the Department of Speech and Dramatic Art at the University of Arkansas
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