3,182 research outputs found
American Women Writers: Amy M. Clark
No full textA 2011 conversation with the author Amy M. Clark about her life and the inspiration for her work
Mark Septimus Mitchell went shooting
No full textSketch from the scrapbook of Sarah E.E. Mitchell of Lisdillon on the East Coast of Tasmania 1868.
Sketch, not numbered, taken 1868, by Catherine Mitchell, with subsequent notes by Sarah Mitchell in 1935. This sketch was returned from England, 1927.
Mark Septimus Mitchell went out shooting during holidays home from Horton College Ross (Kate) C.P. Mitchell and Amy M J Mitchell went with him to Mayfield Swamp. Going through the water called to them “Come on” but they would not. & used to tease him for asking them to come. Mayfield East Coast Tasmania belonged to my father John Mitchell.
The sketches by Catherine Penwarne (Kate), eldest daughter of John and Catherine Mitchell (of Cornwall, England, who settled at Lisdillon, East Coast Tasmania in 1852) were made between 1860 and 1876, and portray aspects of 19th Century social and domestic life. Catherine’s sketches were compiled by her sister Sarah. E.E.Mitchell. Derived from her own collection, from those of friends and relations, and from John Ball, Kate's husband, they were compiled sometime between 1928 and 1933. The sketches are mounted in an album, together with: locks of Kate's hair on red silk; a pressed fern arrangement; a coloured photograph of John and Catherine Ball; and coloured views of Buckland Churchyard in 1850, showing the grave of Paul Thomas Mitchell, aged 3 days, and in 1879 showing the grave of Catherine Penwarne Ball. The scrapbook was bequeathed to The Royal Society of Tasmania in 1946.
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Supplemental Material - Moral distress among acute mental health nurses: A systematic review
No full textSupplemental Material for Moral distress among acute mental health nurses: A systematic review by Sara Lamoureux, Amy E Mitchell, and Elizabeth M Forster in Nursing Ethics.</p
Sparrows can't sing : East End kith and kinship in the 1960s
No full textSparrows Can’t Sing (1963) was the only feature film directed by
the late and much lamented Joan Littlewood. Set and filmed in
the East End, where she worked for many years, the film deserves
more attention than it has hitherto received. Littlewood’s career
spanned documentary (radio recordings made with Ewan MacColl
in the North of England in the 1930s) to directing for the stage
and the running of the Theatre Royal in London’s Stratford East,
often selecting material which aroused memories in local audiences
(Leach 2006: 142). Many of the actors trained in her Theatre
Workshop subsequently became better known for their appearances
on film and television. Littlewood herself directed hardly any material
for the screen: Sparrows Can’t Sing and a 1964 series of television
commercials for the British Egg Marketing Board, starring Theatre
Workshop’s Avis Bunnage, were rare excursions into an area of practice
which she found constraining and unamenable (Gable 1980: 32).
The hybridity and singularity of Littlewood’s feature may answer,
in some degree, for its subsequent neglect. However, Sparrows Can’t
Sing makes a significant contribution to a group of films made in
Britain in the 1960s which comment generally on changes in the
urban and social fabric. It is especially worthy of consideration,
I shall argue, for the use which Littlewood made of a particular
community’s attitudes – sentimental and critical – to such changes and
for its amalgamation of an attachment to documentary techniques
(recording an aural landscape on location) with a preference for nonnaturalistic
delivery in performance
Boiled cockles at Mayfield beach
No full textSketch from the scrapbook of Sarah E.E. Mitchell of Lisdillon on the East Coast of Tasmania 1868.
Sketch, untitled and not numbered, by Catherine Mitchell, taken 1868.
Picnic at Mayfield 1868? East Coast Tas. Kate P.M, Amy M J M, Sarah EE Mitchell. Boiled cockles and turned them out on cloth. by G.C. Mitchell for S.E.E.M.
The sketches by Catherine Penwarne (Kate), eldest daughter of John and Catherine Mitchell (of Cornwall, England, who settled at Lisdillon, East Coast Tasmania in 1852) were made between 1860 and 1876, and portray aspects of 19th Century social and domestic life. Catherine’s sketches were compiled by her sister Sarah. E.E.Mitchell. Derived from her own collection, from those of friends and relations, and from John Ball, Kate's husband, they were compiled sometime between 1928 and 1933. The sketches are mounted in an album, together with: locks of Kate's hair on red silk; a pressed fern arrangement; a coloured photograph of John and Catherine Ball; and coloured views of Buckland Churchyard in 1850, showing the grave of Paul Thomas Mitchell, aged 3 days, and in 1879 showing the grave of Catherine Penwarne Ball. The scrapbook was bequeathed to The Royal Society of Tasmania in 1946.
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Frying Caleb with a bone
No full textSketch from the scrapbook of Sarah E.E. Mitchell of Lisdillon on the East Coast of Tasmania 1874.
Sketch 18 - Taken May 5th 1873 - by Catherine Mitchell.
A picnic at Mayfield Scrub by the hop ground at Mayfield, Lisdillon, Henry Meredith who was hop measurer washing his hands & Amy M. J. Mitchell talking to him. Kate & Romer Meadows frying “Caleb” with a bone, S.E.E.M & Florence Dandridge eating on a log. Mark S. M showing Minnie Giblin (after Mrs Hamilton Radcliffe) how “Blackfellow” can write its name by holding its paw & scratching the ground.
The sketches by Catherine Penwarne (Kate), eldest daughter of John and Catherine Mitchell (of Cornwall, England, who settled at Lisdillon, East Coast Tasmania in 1852) were made between 1860 and 1876, and portray aspects of 19th Century social and domestic life. Catherine’s sketches were compiled by her sister Sarah. E.E.Mitchell. Derived from her own collection, from those of friends and relations, and from John Ball, Kate's husband, they were compiled sometime between 1928 and 1933. The sketches are mounted in an album, together with: locks of Kate's hair on red silk; a pressed fern arrangement; a coloured photograph of John and Catherine Ball; and coloured views of Buckland Churchyard in 1850, showing the grave of Paul Thomas Mitchell, aged 3 days, and in 1879 showing the grave of Catherine Penwarne Ball. The scrapbook was bequeathed to The Royal Society of Tasmania in 1946.
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Picnic on Fisherman’s Island with Dr Rundel
No full textSketch from the scrapbook of Sarah E.E. Mitchell of Lisdillon on the East Coast of Tasmania 1874.
Sketch 71 - Taken July 1875 - by Catherine Mitchell.
Dr Rundle, Kate P.M, Mark, S.E.E.M went round by sea & up Little Swanport River to Fisherman’s Island, after Tom Williams died & others had also, had it died. Dr & Mrs Rundle came out in the sailing ship “Niobe”, & brought Amy M.J. M., from Frank’s & Aunt Sarah’s house in London where he heard Amy cough & asked who it was, & said she must return to Tasmania at once, so she came with them & was only away eleven months. She went from Melbourne under the care of Sir Valentine Flemming & Lady Flemming. Frank WD Mitchell advertised in the “Lancet” for a doctor for Glamorgan, & of the many applicants took Dr Rundle. After he left again Frank choose Dr Lovett who married Carrie Nethercott, did up & bought Schouten House & died there at Swansea. I bought it from his widow because she asked me.
The sketches by Catherine Penwarne (Kate), eldest daughter of John and Catherine Mitchell (of Cornwall, England, who settled at Lisdillon, East Coast Tasmania in 1852) were made between 1860 and 1876, and portray aspects of 19th Century social and domestic life. Catherine’s sketches were compiled by her sister Sarah. E.E.Mitchell. Derived from her own collection, from those of friends and relations, and from John Ball, Kate's husband, they were compiled sometime between 1928 and 1933. The sketches are mounted in an album, together with: locks of Kate's hair on red silk; a pressed fern arrangement; a coloured photograph of John and Catherine Ball; and coloured views of Buckland Churchyard in 1850, showing the grave of Paul Thomas Mitchell, aged 3 days, and in 1879 showing the grave of Catherine Penwarne Ball. The scrapbook was bequeathed to The Royal Society of Tasmania in 1946.
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Funny Feminism: Reading the Texts and Performances of Viola Spolin, Tina Fey and Amy Poehler, and Amy Schemer
No full textThis study examines the feminism of Viola Spolin, Tina Fey and Amy Poehler, and Amy
Schumer, all of whom, in some capacity, are involved in the contemporary practice and performance of feminist comedy. Using various feminist texts as tools, the author contextually and theoretically situates the women within particular feminist ideologies, reading their texts, representations, and performances as nuanced feminist assertions. Building upon her own experiences and sensations of being a fan, the author theorizes these comedic practitioners in relation to their audiences, their fans, influencing the ways in which young feminist relate to themselves, each other, their mentors, and their role models. Their articulations, in other words, affect the ways feminism is contemporarily conceived, and sometimes, humorously and contentiously advocated
Kate, Miss Grigg & her scholars walking
No full textSketch from the scrapbook of Sarah E.E. Mitchell of Lisdillon on the East Coast of Tasmania 1874.
Sketch 103 - Taken 1864 or 1865 - by Catherine Mitchell.
Kate P. Mitchell, went to a distant cousins mixed school at Emerald Hill, Melbourne, Victoria, Australia – Miss Martha Grigg’s – when out walking the boys used to play like this – Needless to say all this land is built over or reserves. Kate learned Leather work & I have a basket she made. She taught us, i.e myself (S.E.E.M) and Amy M. J.M, when she returned home.
The sketches by Catherine Penwarne (Kate), eldest daughter of John and Catherine Mitchell (of Cornwall, England, who settled at Lisdillon, East Coast Tasmania in 1852) were made between 1860 and 1876, and portray aspects of 19th Century social and domestic life. Catherine’s sketches were compiled by her sister Sarah. E.E.Mitchell. Derived from her own collection, from those of friends and relations, and from John Ball, Kate's husband, they were compiled sometime between 1928 and 1933. The sketches are mounted in an album, together with: locks of Kate's hair on red silk; a pressed fern arrangement; a coloured photograph of John and Catherine Ball; and coloured views of Buckland Churchyard in 1850, showing the grave of Paul Thomas Mitchell, aged 3 days, and in 1879 showing the grave of Catherine Penwarne Ball. The scrapbook was bequeathed to The Royal Society of Tasmania in 1946.
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Picnic at May Valley 1875
No full textSketch from the scrapbook of Sarah E.E. Mitchell of Lisdillon on the East Coast of Tasmania 1875.
Sketch taken 1875
Title Picnic May Valley 1875
Returning from May Valley, when the horses broke loose, five miles back from Lisdillon, East Coast, Tasmania. Amy M. J. Mitchell, Kate, Mark & Sarah E.E. Mitchell, Florence Dandridge, Minnie Giblin. 1873.
The sketches by Catherine Penwarne (Kate), eldest daughter of John and Catherine Mitchell (of Cornwall, England, who settled at Lisdillon, East Coast Tasmania in 1852) were made between 1860 and 1876, and portray aspects of 19th Century social and domestic life. Catherine’s sketches were compiled by her sister Sarah. E.E.Mitchell. Derived from her own collection, from those of friends and relations, and from John Ball, Kate's husband, they were compiled sometime between 1928 and 1933. The sketches are mounted in an album, together with: locks of Kate's hair on red silk; a pressed fern arrangement; a coloured photograph of John and Catherine Ball; and coloured views of Buckland Churchyard in 1850, showing the grave of Paul Thomas Mitchell, aged 3 days, and in 1879 showing the grave of Catherine Penwarne Ball. The scrapbook was bequeathed to The Royal Society of Tasmania in 1946.
RS 32/
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