31,030 research outputs found
Letter from Thos. J. Henley to J. W. Denver with letter from H. S. Burton and J. J. Kendrick, 1857
No full textEnclosed copies of reports from Captain H. S. Burton about the difficulties between Indian tribes near the Colorado, and from Special Agent J. J. Kendrick on the condition of Indians in Los Angeles, San Bernardino and San Diego Counties
The protectionist mood and midwest agricultural trade
Get PDF27 pages; includes drawings. This archival publication may not reflect current scientific knowledge or recommendations. Current information available from the University of Minnesota Extension: https://www.extension.umn.edu.Houck, James P.; Kendrick, James G.. (1968). The protectionist mood and midwest agricultural trade. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/168896
Engraved portrait of James Nayler (1618–1660)
No full textEngraved portrait of James Nayler (1618-1660) by Robert Grave (1768-1825). Inscribed, 'Born at Ardesloe, near Wakefield, in Yorkshire. Was an Independent and served Quarter Master in ye Parliament Army, about the Year 1641. turn'd Quaker in 1651. Punish'd as a Blasphemer 1656. Author of many Books & Dyed at Holm in Huntingtonshire 1660. Aged 44.
The Terrible, Horrible Desire to Know: Post-9/11 Horror Remakes, Reboots, Sequels and Prequels
No full textChapter Twelve remains with the horror genre, but takes a broader overview of one of the defining trends of the American film industry which has progressively gathered pace in the first years of the twenty-first century: the increasing prevalence of the remake. In "The Terrible, Horrible Desire to Know: Post-9/11 Horror Remakes, Reboots, Sequels, and Prequels" James Kendrick analyses the rising cultural and commercial fortunes of the American horror film which experienced between the years of 1995 and 2005 increases of more than 80% in terms of production and 106% in terms of market share (“Horror: Year-by-Year Market Share”). In this decade 2007 was the biggest year for American horror films (it was also the year of the release of The Mist discussed in the previous chapter) with thirty-one releases accounting for 7.16% of the total market share of the US domestic box office (“Horror: Year-by-Year Market Share”) as opposed to just sixteen releases in 1995. Yet Kendrick does not dismiss this development as being purely economically motivated, rather he asks what can these modern horror films, very often remakes of classic horror films of the 1950s and the 1970s, tell us about the cultural and political climate they emerge from? In an incisive analysis of the recurrent tropes in post-9/11 American horror films Kendrick points out that horror's persistent ties to cultural anxiety provide an intriguing insight into their times as they become increasingly darker, more graphic and deny their characters any sense of hope or redemption. Most interestingly, Kendrick observes, the contemporary horror film replaces the ambiguity of the defining horror films of the 1970s with a desire to explain and understand which he suggests parallels American society's need to understand following the terrorist attacks on 11 September 2001. Kendrick then turns to Rob Zombie's 2007 remake of John Carpenter's original Halloween (1978) as an articulation of many of the tropes discussed in the first part of the essay offering some surprising conclusions concerning the power of the horror film to reflect cultural unease.</p
Tobias J. Kendrick and Family
No full textOn back of image: "Professor Tobias J. Kendrick; m(arried) 1. Minnehaha Adams, daughter of Capt. Alexander Adams and Georgia A. Dills, granddaughter of Col. John Dils, she died July 7, 1896; Two sons - Erwin A. Kendrick and John D. Kendrick -- m(arried) 2. English Hammet (pictured) daughter of Rev. James A. Hammet; identified by Miss Marion Ratliff" Tobias and English were both teacher at the Pikeville Collegiate Academy. Part of the Allara Library's Hobbs Collection, this image, and others like it, were put on display in Hobbs Store on Main Street in Pikeville, KY. Notes were made on the back of some to record when they were displayed. If someone recognized the individuals in the photos, the identities were recorded on the back
Polyphony and the anxiety of influence in the fiction of Henry James
Get PDFJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
On Resurrecting Christian Cinema: A Study of James K. Friedrich's "Life of St. Paul" Series
No full textOver the past few decades, there has been a growing tendency for independent Christian filmmaking to assert itself as a “wholesome” alternative to secular mainstream content, often at the expense of high-quality writing, production value, and a general appreciation of the film medium as something more than an avenue for messaging. To identify filmmaking methodologies that may aid in finding a middle ground between Hollywood and contemporary evangelical cinema, this thesis analyzes the work of one the Christian film industry’s pioneers, Reverend James K. Friedrich. As an avid lover of the movies, Friedrich dedicated his career to creating high-quality Christian films to evangelize, educate, and entertain believers and nonbelievers alike. The Life of St. Paul series (1949—1951) is generally considered the pinnacle of his work, and this thesis studies how it utilizes genre conventions, scriptural dramatic liberties, and mainstream aesthetics to bridge the gap between secular and evangelical cinema
Dr. James Gillam, Spelman College, September 2011
No full textThis video is a conversation with Dr. James Gillam. Dr. Gillam talks about his book, "Life and Death in the Central Highlands: An American Sergeant in the Vietnam War 1968-1970". Daniel Le, AUC Woodruff Library, is the interviewer
James Bond: international man of gastronomy
No full textThis article is concerned with the representation of food and drink in Ian Fleming’s James Bond novels. In particular, it examines how the author uses Bond’s culinary knowledge and habits of consumption as an important constituent of his hero’s character. Similarly, the food choices of other characters, notably villains, are shown to be linked, by Fleming, to core aspects of their identity − principally their ethnicity. Bond’s impulse to observe and classify, very much in evidence in the novels’ food sequences, is examined in terms of the texts’ construction of Bond as a skilled identifier of signs
A Tripartite Post-Recession Rebalancing
No full textIn this latest Advance & Rutgers Report, entitled “A Tripartite Post-Recession Rebalancing,” Dean James W. Hughes and Professor Joseph J. Seneca deliver an incisive assessment of the current market conditions and obstacles in the path of our economic recovery. They offer a statistical cautionary tale that the private and public sector need to hear and acknowledge in order for the economy to make continued progress.This report was published as Issue Paper Number 7, November 2011, in Advance & Rutgers Report
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