Alan Skelton considers what constitutes excellence in higher education teaching, the central case study being the practice of the UK's most excellent university teachers, as judged by the National Teaching Fellowship Scheme.
In Renaissance England and Scotland, verse libel was no mere sub-division of verse satire but a fully-developed, widely-read poetic genre in its own right. This fact has been hidden from literary historians by the nature of the genre itself: defamation was rigorously prosecuted by state and local authorities throughout the period. Thus most (but not all) libelling, in verse or prose, was confined to manuscript circulation. This comprehensive survey of the genre identifies all sixteenth-century verse libel texts, printed and transcribed. It makes fifty-two of the least familiar of these poems accessible for further study by providing critical texts with glosses and explanatory notes. In reconstructing the contexts of these poems, we identify a number of the libellers, their targets, the circumstances of attack, and the workings of the scribal networks that disseminated many of them over wide areas, often for decades. The book's concentration on poems restricted to manuscript circulation throws substantial new light on the nature of Renaissance scribal culture. As poetic technicians, its practitioners were among the age's most experimental and creative. They produced some of the most popular, widely read works of their age and beyond, while their output established the foundation upon which the seventeenth-century tradition of verse libel developed organically.
Alan Lomax (1915-2002) began working for the Archive of American Folk Song at the Library of Congress in 1936, first as a special and temporary assistant, then as the permanent Assistant in Charge, starting in June 1937, until he left in late 1942. He recorded such important musicians as Woody Guthrie, Muddy Waters, Aunt Molly Jackson, and Jelly Roll Morton. A reading and examination of his letters from 1935 to 1945 reveal someone who led an extremely complex, fascinating, and creative life, mostly as a public employee. While Lomax is noted for his field recordings, these collected letters, many signed "Alan Lomax, Assistant in Charge," are a trove of information until now available only at the Library of Congress. They make it clear that Lomax was very interested in the commercial hillbilly, race, and even popular recordings of the 1920s and after. These letters serve as a way of understanding Lomax's public and private life during some of his most productive and significant years. Lomax was one of the most stimulating and influential cultural workers of the twentieth century. Here he speaks for himself through his voluminous correspondence.
You've heard Wilbur speak about Mr. Ed. Now read what Alan Young has to say about: CHAPTER ONE Radio - the simple life! (Paul Whiteman, Tallulah Bankhead, Zero Mostel, Eddie Cantor, Jo Stafford) CHAPTER TWO HOLLYWOOD The breeding ground of character - and characters. ("Androcles and the Lion," Jim Backus, George Bernard Shaw, Victor Mature) CHAPTER THREE HOLLYWOOD PARTIES (Atwater Kent, Maggie Ettinger, "Margie," Louella Parsons, Jack Benny, Mary Livingston, George Burns, Ozzie & Harriett, Edgar Bergen, Orson Welles, Rita Hayworth, Red Skelton) CHAPTER FOUR Hollywood Hotchpotch (Extras & Agents) CHAPTER FIVE Watch them - they're teaching you! (Peter Lorre, Clifton Webb, Jane Russell, Gower Champion, Jeannie Mahoney, Audrey Totter) CHAPTER SIX The good old days, or Have I been around that long? (Mickey Rooney, Jane Powell, Elizabeth Taylor, Roddy McDowell, Jeanne Craine, Bob Hope, Jack Benny, Fibber McGee. Red Skelton, Sonja Henie, Dinah Shore, Bing Crosby) CHAPTER SEVEN TELEVISION The box they put radio into (Fred Allen, James Gleason, Chester, Chester Clute, Wally Ford) CHAPTER EIGHT ON STAGE PLEASE! (John Charles Thomas, Ben Blue, Joe Besser) CHAPTER NINE THE TIME MACHIINE (George Pal, Tom Thumb, H.G. Welles) EPILOGUE It was easier then
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