Poets and writers Susan Howe and Alexis Pauline Gumbs read each other’s work and discuss reading and being read as an act of intimacy Published on the occasion of Adam Pendleton: Who Is Queen? at the Museum of Modern Art, New York, the book series Who Is Queen? adapts conversations between pairs of notable writers, theorists, philosophers and musicians into contrapuntal texts intertwined with archival photographs and additional writings. Alexis Pauline Gumbs (born 1982) is the author of several books, most recently Undrowned: Black Feminist Lessons from Marine Mammals (2020), and the cofounder of the Mobile Homecoming Trust, an "intergenerational experiential living library of Black LBGTQ brilliance." Susan Howe’s (born 1937) most recent poetry collection was Concordance, published in 2020 along with a reissue of Spontaneous Particulars (2014), a prose meditation on her research in rare book collections. Her selected essays, collected in The Quarry, were published in 2015, and a poetry collection, Debths (2017), won Canada’s Griffin Award for Poetry in 2018.
Over her career Susan Sherratt has questioned our basic assumptions in many areas of the later prehistory of the Mediterranean and Europe, deploying a canny eye for detail, but never losing sight of the big picture. Her collected works include contributions on the relationship between Homeric epic and archaeology; the economy of ceramics, metals and other materials; the status of the ‘Sea Peoples’ and other ethnic terminologies; routes and different forms of interaction; and the history of museums/collecting (especially relating to Sir Arthur Evans). The editors of ?T?????? (Athyrmata) have brought together a cast of thirty-two scholars from nine different countries who have contributed these twenty-six papers to mark Sue’s 65th birthday – a collection that seeks to reflect both her broad range of interests and her ever-questioning approach to uncovering the realities of life in Europe and the Mediterranean in later prehistory.
Hausarbeit aus dem Jahr 2004 im Fachbereich Deutsch - Pädagogik, Didaktik, Sprachwiss., Note: 1,3, Westfälische Wilhelms-Universität Münster, 9 Eintragungen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Kinder begegnen dem Thema Sterben und Tod auf vielerlei Weise. Beobachtungen im Fernsehen, Gespräche der Erwachsenen über den Tod, Verlust eines Haustieres, der Großeltern oder eines anderen geliebten Menschen, konfrontieren sie frühzeitig mit diesem Thema. Diese schmerzlichen Erfahrungen sind für Kinder meist sehr schwer zu verarbeiten, und auch Erwachsene sind hiermit oft überfordert. Um als Lehrer die Trauer der Kinder nachvollziehen zu können, sollte man sich somit nicht nur mit wissenschaftlicher Literatur über die Themen Sterben und Tod befassen, sondern vor allem auch geeignete Wege finden, mit Kindern das Thema in angemessener Weise zu be- und verarbeiten. Gerade illustrierte Bücher können für Kinder eine Möglichkeit sein, die Angst vor dem eigenen bevorstehenden Tod, die Trauer nach dem Tod eines geliebten Lebewesens, aber auch die allgemeine Angst vor dem Tod aufzufangen. So kann ein sinnvoller Beitrag zur Trauerarbeit und gegen die Angst geleistet, vor allem aber auch den Kindern geholfen werden, ein angstfreies Konzept vom Tod zu bilden. In dieser Hausarbeit sollen nicht primär die wissenschaftlichen Hintergründe der Trauerverarbeitung und Angstvorstellungen bei Kindern im Vordergrund stehen. An erster Stelle steht hier die Analyse des Buches `Leb wohl lieber Dachs` von Susan Varley, unter dem Aspekt der Eignung als Bilderbuch zum Thema Sterben, Tod und Trauer. Zunächst folgt somit eine inhaltliche Analyse des ausgewählten Buches. Anschließend soll das Augenmerk auf der stilistischen Analyse liegen, um abschließend einige didaktisch-methodische Überlegungen anzustellen.
This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
Title: Ballyho Bey; or, the power of woman. A sequel to "Susan Turnbull.."Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The FICTION & PROSE LITERATURE collection includes books from the British Library digitised by Microsoft. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. Written for a range of audiences, these works are a treasure for any curious reader looking to see the world through the eyes of ages past. Beyond the main body of works the collection also includes song-books, comedy, and works of satire. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Gunter, Archibald Clavering; 1897. 318 p.; 8 . 012626.i.70.
The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT133052A variant has "Drury-Lane" correctly spelt on the titlepage.London: printed for Jonas Browne, and S. Chapman, 1706]. 79, 1]p.: ill.; 12
Susan Bogert Warner (July 11, 1819 - March 17, 1885), was an American evangelical writer of religious fiction, children's fiction, and theological works.Pen name, Elizabeth Wetherell. Born in New York City, she wrote, under the name of "Elizabeth Wetherell", thirty novels, many of which went into multiple editions. However, her first novel, The Wide, Wide World (1850), was the most popular. It was translated into several other languages, including French, German, and Dutch. Other than Uncle Tom's Cabin, it was perhaps the most widely circulated story of American authorship. Other works include Queechy (1852), The Law and the Testimony, (1853), The Hills of the Shatemuc, (1856), The Old Helmet (1863), and Melbourne House (1864). In the nineteenth century, critics admired the depictions of rural American life in her early novels. American reviewers also praised Warner's Christian and moral teachings, while London reviewers tended not to favor her didacticism. Early twentieth-century critics classified Warner's work as "sentimental" and thus lacking in literary value. In the later twentieth century, feminist critics rediscovered The Wide, Wide World, discussing it as a quintessential domestic novel and focusing on analyzing its portrayal of gender dynamics. Some of her works were written jointly with her younger sister Anna Bartlett Warner, who sometimes wrote under the pseudonym "Amy Lothrop". The Warner sisters also wrote famous children's Christian songs. Susan wrote "Jesus Bids Us Shine" while Anna was author of the first verse of the well-known children's song "Jesus Loves Me", which she wrote at Susan's request. Both sisters became devout Christians in the late 1830s. After their conversion, they became confirmed members of the Mercer Street Presbyterian church, although in later life, Warner became drawn into Methodist circles. The sisters also held Bible studies for the West Point cadets. When they were on military duty, the cadets would sing "Jesus Loves Me." The popularity of the song was so great that upon Warner's death, she was buried in the West Point Cemetery. Warner could trace her lineage back to the Puritans on both sides. Her father was Henry Warner, a New York City lawyer originally from New England, and her mother was Anna Bartlett, from a wealthy, fashionable family in New York's Hudson Square. When Warner was a young child, her mother died, and her father's sister Fanny came to live with the Warners. Although Henry Warner had been a successful lawyer, he lost most of his fortune in the Panic of 1837 and in subsequent lawsuits and poor investments. The family had to leave their mansion at St. Mark's Place in New York and move to an old Revolutionary War-era farmhouse on Constitution Island, near West Point, NY. In 1849, seeing little change in their family's financial situation, Susan and Anna started writing to earn income. Susan Warner died in Highland Falls, New York and is buried in the West Point Cemetery.
Susan Cabot was a popular B-list movie actress in the 1940s-1950s whose grisly slaying perhaps gained her more notoriety than her on-screen and on-stage accomplishments. Susan had a significant acting career ultimately cheapened by the media circus surrounding her death.The role for which Susan was most recognized was Wasp Woman, Janice Starlin, the president of a cosmetics corporation who experiments with a youth serum made from the extract of wasps that proves to have deadly side effects--not unlike the experimental injections that contributed to her own real-life slaughter in 1986 at the hands of her son, Tim.Susan was essentially tried and convicted of her own murder due to the overbearing mother narrative purported by Tim's defense attorney team and the media. This biography broadens the narrative of Susan Cabot, detailing her legacy from a fresh perspective beyond the coils of her last years and brutal murder. It also explores the sociopolitical implications of victim-blaming, mother blame, and toxic masculinity that led to the skewing of Susan's life and death.Susan's side of the story has never been told... until now.
![The Basset-Table. a Comedy. as It Is Acted at the Theatre-Royal in Dury[sic]-Lane, by His Majesty's Servants. by Mrs. Susan. Cent-Livre. the Second Edition.](/covers/9781140947431.jpg)
![The Basset-table. A Comedy. As it is Acted at the Theatre-Royal in Dury[sic]-Lane, by His Majesty's Servants. By Mrs. Susan. Cent-Livre. The Second Edition](/covers/9781379568001.jpg)
