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Parlor Gems
This classical guitar project, for solo and duo, is presented in standard notation. the music has been selected from the vast repertoire of 19th Century parlor music from the United States and Europe. the music is presented to be performed instrumentally; however some lyrics are provided in the introductory notes. A companion recording is included.
Annual Report
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A Year of Living Simply
'Simply wonderful.' - BEN FOGLE 'Kate's book has the warmth and calming effect of a log fire and a glass of wine. Unknit your brow and let go. It's a treat.' - GARETH MALONE 'Kate Humble pours her enviable knowledge into attainable goals. It's a winning combination and the prize - a life in balance with nature - is definitely worth claiming.' - LUCY SIEGLE 'As ever, where Kate leads, I follow. She has made me reassess and reset.' - DAN SNOW 'Kate Humble's new book is a lesson in moving on from a tragedy and finding our place in the world' - WOMAN & HOME 'A Year of Living Simply is timely, given that the pandemic has forced most of us, in some way to simplify our lives, whether we planned to ...
A Family History of Williams, Eaton, McBroom, Whiteley, and Related Lines
William Williams immigrated to Virginia and settled in Grayson County. He was the father of three children, one of whom was Thomas (b. ca. 1732-1790). He was the father of six children. One of his descendants was John Williams (1866-1927) who married Mittie Eaton and they eventually moved form Tennessee to Oklahoma. They were the parents of 12 children. Descendants married into the McBroom and Whiteley families. Descendants live in Oklahoma, Texas and other parts of the United States.
Regents' Proceedings
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Jacques Tourneur
At least three of director Jacques Tourneur's films--Cat People, I Walked with a Zombie and The Leopard Man--are recognized as horror classics. Yet his contributions to these films are often minimized by scholars, with most of the credit going to the films' producer, Val Lewton. A detailed examination of the director's full body of work reveals that those elements most evident in the Tourneur-Lewton collaborations--the lack of monsters and the stylized use of suggested violence--are equally apparent in Tourneur's films before and after his work with Lewton. Mystery and sensuality were hallmarks of his style, and he possessed a highly artistic visual and aural style. This insightful critical study examines each of Tourneur's films, as well as his extensive work on MGM shorts (1936-1942) and in television. What emerges is evidence of a highly coherent directorial style that runs throughout Tourneur's works.
