Before boundaries were drawn and states were born, there lived a man named Quanah Parker. He was half white and half Comanche but, in his heart, he was one hundred percent Comanche. In his youth, he fought in a battle against the white buffalo hunters known as the "Battle of the Second Adobe Walls." After he witnessed the death of a close Comanche friend, who was killed by a Tonkawa scout of the Texas Rangers, Quanah Parker declared war on Texans. Like his father before him, Quanah Parker was a warrior. Quanah Parker and his band of Kwahadi (Quohada) were the last Comanche tribe to come into Fort Sill Reservation. Wanting to reach the Indians on the reservation, and finding it hard for him and his white officers to do so, General Mackenzie used Quanah Parker as a bridge to link the deep valleys between the Comanche people and white cultures.
Before the turn of the twentieth century, most women would not dream of engaging in "men's work." Women were expected to ride sidesaddle, wear skirts, and most women did not race their pony like lightning after a prairie wolf. Regardless of society's rules, these were the things Lucille Mulhall loved. Growing up on her family's ranch in Oklahoma, she learned to do cowboy chores: rope, train horses, and brand cattle-and she did it better than most men. Recognizing his daughter's natural talent, Colonel Zack Mulhall encouraged Lucille to enter the world of show business. From steer roping competitions to vaudeville acts to Wild West shows, Lucille entertained enthusiastic crowds. Her skill and perfect sense of timing, as well as her small stature and feminine demeanor, made her an audience favorite. Heralded by Will Rogers as America's first "cowgirl," Lucille Mulhall became an inspiration for women everywhere. About the Author: Cynthia Kay Rhodes is a writer and illustrator who discovered a passion in writing biographies for children. Between Two Worlds: The Legend Of Quanah Parker, her first book, focused on the life of the renowned Comanche chief. With Lucille Mulhall: An Athlete Of Her Time, she wanted to present the true story of a remarkable woman, which also focused on her two favorite interests: horses and the Wild West.
Before boundaries were drawn and states were born, there lived a man named Quanah Parker. He was half white and half Comanche but, in his heart, he was one hundred percent Comanche. In his youth, he fought in a battle against the white buffalo hunters known as the "Battle of the Second Adobe Walls." After he witnessed the death of a close Comanche friend, who was killed by a Tonkawa scout of the Texas Rangers, Quanah Parker declared war on Texans. Like his father before him, Quanah Parker was a warrior. Quanah Parker and his band of Kwahadi (Quohada) were the last Comanche tribe to come into Fort Sill Reservation. Wanting to reach the Indians on the reservation, and finding it hard for him and his white officers to do so, General Mackenzie used Quanah Parker as a bridge to link the deep valleys between the Comanche people and white cultures.
Before the turn of the twentieth century, most women would not dream of engaging in "men's work." Women were expected to ride sidesaddle, wear skirts, and most women did not race their pony like lightning after a prairie wolf. Regardless of society's rules, these were the things Lucille Mulhall loved. Growing up on her family's ranch in Oklahoma, she learned to do cowboy chores: rope, train horses, and brand cattle-and she did it better than most men. Recognizing his daughter's natural talent, Colonel Zack Mulhall encouraged Lucille to enter the world of show business. From steer roping competitions to vaudeville acts to Wild West shows, Lucille entertained enthusiastic crowds. Her skill and perfect sense of timing, as well as her small stature and feminine demeanor, made her an audience favorite. Heralded by Will Rogers as America's first "cowgirl," Lucille Mulhall became an inspiration for women everywhere. About the Author: Cynthia Kay Rhodes is a writer and illustrator who discovered a passion in writing biographies for children. Between Two Worlds: The Legend Of Quanah Parker, her first book, focused on the life of the renowned Comanche chief. With Lucille Mulhall: An Athlete Of Her Time, she wanted to present the true story of a remarkable woman, which also focused on her two favorite interests: horses and the Wild West.
The issues of poverty, inequality, racial injustice, and climate change have never been more pressing or paralyzing. Current approaches to social change, which rely on linear thinking and traditional power dynamics to 'solve' social problems, are not helping. In fact, they may only beentrenching the status quo.Systemic social challenges produce bewildering results when we try to solve them due to their complexity, scale, and depth. While strategies to tackle complexity and scale have received significant attention and investment, challenges that arise from deeply-held beliefs, values, and assumptions thatno longer serve us well have been largely overlooked. This book draws on stories of committed social changemakers to uncover a set of principles and practices for social change that dramatically depart from the industrial approach. Rather than delivering solutions or being lured by grander visionsof 'systems change', these principles and practices focus on the process of change itself. Simple yet profound, these stories distil a timely set of lessons for leaders, scholars, and policymakers on how connection, context, and power sit at the heart of the change process, ensuring broader agencyfor people and communities while building social systems that are responsive in a rapidly-changing world.
This familiar guide to information resources in the humanities and the arts, organized by subjects and emphasizing electronic resources, enables librarians, teachers, and students to quickly find the best resources for their diverse needs. Authoritative, trusted, and timely, Information Resources in the Humanities and the Arts: Sixth Edition introduces new librarians to the breadth of humanities collections, experienced librarians to the nature of humanities scholarship, and the scholars themselves to a wealth of information they might otherwise have missed. This new version of a classic resource—the first update in over a decade—has been refreshed to account for the myriad of digital resources that have rewritten the rules of the reference and research world, and been expanded to include significantly increased coverage of world literature and languages. This book is invaluable for a wide variety of users: librarians in academic, public, school, and special library settings; researchers in religion, philosophy, literature, and the performing and visual arts; graduate students in library and information science; and teachers and students in humanities, the arts, and interdisciplinary degree programs.
How is gender constructed in the media? To what extent do portrayals of gender influence everyday perceptions of ourselves and our actions? In what ways do the media reinforce and sometimes challenge gender inequalities? Critical Readings: Media and Gender provides a lively and engaging introduction to the field of media and gender research, drawing from a wide range of important international scholarship. A variety of conceptual and methodological approaches is used to explore subjects such as: entertainment; news; grassroots communication; new media texts; institutions; audiences. Topics include: Gender identity and television talk shows Historical portrayals of women in advertising The sexualization of the popular press The representation of lesbians on television The cult of femininity in women's magazines Images of African American women and Latinas in Hollywood cinema Sexual violence in the media Women in popular music Pornography and masculine power Women's relationship to the Internet. This book is ideal for undergraduate courses in cultural and media studies, gender studies, the sociology of the media, mass communication, journalism, communication studies and politics.
This book shows how to create a peaceful, evocative garden dŽcor in any room of the home and in connected spaces such as porches, balconies, and breezeways. From sweepingly dramatic rooms to charming corners filled with flowerpots, your love of gardens can be carried indoors to bring joy and beauty to the spaces where you live and work every day.
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