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Books on the topic 'Barber and Company'

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Author: Grafiati

Published: 26 July 2024

Last updated: 28 July 2024

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1

Worshipful Company of Barbers. Barbers' Historical Group., ed. Presentations: Worshipful Company of Barbers Barbers' Historical Group. [London]: Barbers' Historical Group, 1994.

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2

Barbers, Worshipful Company of, ed. The Worshipful Company of Barbers. [London]: [The Company], 1997.

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3

Stibitz, George R. The zeroth generation. [S.l: Privately printed], 1993.

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4

Barbers, Worshipful Company of. A handlist of the archives. [London]: [The Company], 1993.

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5

Bob, Lee. Gilbert & Barker Gilbarco, Inc.: A pictorial history of the growth of a great company. Detroit: Harlo, 1989.

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6

United States. Army. Corps of Engineers and Tennessee Valley Authority, eds. Final environmental assessment, barge loading facilities on Pickwick Reservoir, Tennessee-Tombigbee Waterway mile 447.5, right bank Yellow Creek embayment of Pickwick Lake: Scott Paper Company ... Waynesboro, Mississippi. [Knoxville, Tenn.?]: Tennessee Valley Authority, 1991.

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7

Barbee, Annie Mack. Oral history interview with Annie Mack Barbee, May 28, 1979: Interview H-0190, Southern Oral History Program Collection (#4007). [Chapel Hill, N.C.]: University Library, UNC-Chapel Hill, 2007.

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8

Paul, Victor A. Index to Military history (Michigan boys) Company "D" 66th Illinois, Birge's Western Sharpshooters in the Civil War, 1861-1865, by Lorenzo A. "Ren" Barker, Reed City, Mi., 1905 and the 1994 reprint, with additional information, titled, With the Western Sharpshooters, Michigan Boys of Company D, 66th Illinois. [Washington, Mo: V.A. Paul, 1994.

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9

Barber, Lucius W. 1839-1872. Army Memoirs of Lucius W. Barber, Company d, 15th Illinois Volunteer Infantry. May 24,1861, to Sept. 30 1865. Creative Media Partners, LLC, 2022.

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10

The Company of Barbers and Surgeons. Farrand Press, 2000.

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11

The Company of Barbers and Surgeons. Farrand Press, 2000.

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12

Burn, Ian FRCP. The Company of Barbers and Surgeons. Farrand Press, 2000.

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13

Barker, Howard, and Eduardo Houth. A Style and Its Origins. Bloomsbury Publishing Plc, 2007. http://dx.doi.org/10.5040/9781350924475.

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Howard Barker's alter-ego Eduardo Houth first materialised as the photographer of publicity images for Barker's theatre company The Wrestling School, one of many fictional identities assumed by the playwright to screen a range of his activities, including set and costume design. Writing of himself in the third person and in the historic tense, Barker/Houth achieves a fluency and an uncommon measure of objectivity, though objectivity is scarcely the sole intention. The result is a unique exercise in self-description, partisan but without the shrill self-justification so common in a mere autobiography. Barker/Houth's A Style and its Origins is very much a literary creation; it is also a totally original document and a rich history of the dramatist and his aesthetic.

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14

Kipp, Lara Maleen. Scenography of Howard Barker: The Wrestling School Aesthetic 1998-2011. Taylor & Francis Group, 2020.

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15

Kipp, Lara Maleen. Scenography of Howard Barker: The Wrestling School Aesthetic 1998-2011. Taylor & Francis Group, 2020.

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16

Scenography of Howard Barker: The Wrestling School Aesthetic 1998-2011. Taylor & Francis Group, 2020.

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17

Scenography of Howard Barker: The Wrestling School Aesthetic 1998-2011. Taylor & Francis Group, 2022.

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18

Crimmin, Pat. Surgeons and the Royal Navy: Transactions of the Twelfth Annual Conference Held Jointly with the Royal College of Surgeons of England and the Worshipful Company of Barbers. Independently Published, 2010.

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19

Ritchie, Donald A., Terry L. Birdwhistell, and Richard Norton Smith. Washington's Iron Butterfly. University Press of Kentucky, 2022. http://dx.doi.org/10.5810/kentucky/9780813182261.001.0001.

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Had Elizabeth "Bess" Clements Abell (1933–2020) been a boy, she would likely have become a politician like her father, Earle C. Clements. Effectively barred from office because of her gender, she forged her own path by helping family friends Lyndon and Lady Bird Johnson. Abell's Secret Service code name, "Iron Butterfly," exemplified her graceful but firm management of social life in the Johnson White House. After Johnson's administration ended, she maintained her importance in Washington, DC, serving as chief of staff to Joan Mondale and cofounding a public relations company. Donald A. Ritchie and Terry L. Birdwhistell draw on Abell's own words and those of others known to her to tell her remarkable story. Focusing on her years working for the Johnson campaign and her time in the White House, this engaging oral history provides a window into Abell's life as well as an insider's view of the nation's capital during the tumultuous 1960s.

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20

Wagner-Havlicek, Carina, and Harald Wimmer, eds. Werbe- und Kommunikationsforschung II. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748927327.

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For decades, market, communication and advertising impact research has been providing important insights for both the economy and for advertising and media agencies. This book contains a compact overview of the different methods of research on advertising effectiveness and communication. In its individual chapters, these methods are described in detail, their respective advantages and disadvantages are explained, concrete examples of their application in market, advertising impact and communication research are shown in practice and a conclusion is drawn about each one. Adding to the publication’s first volume, this book describes some standard methods, such as qualitative and quantitative content analysis and some experiments. In addition to elaborating on the basics of sampling and sampling errors, it also explains semiotics, facial coding, mystery shopping, test markets, mobile research, creative as well as non-reactive methods and social media monitoring. The book concludes with an article on panels. With contributions by Chiara Brammer, Alena Ehrenberger, Johanna Erd, Barbara Hackl, Teresa Häring, Philip Hagen, Isabella Henninger, Lisa-Marie Hochsteger, Markus Hofstätter, Larissa Kaiser, Barbara Klinser-Kammerzelt, Tina Montibeller, Daniela Janine Pulz, Jürgen Resch, Christine Schmid, Verena Simlinger, Carina Wagner-Havlicek and Harald Wimmer.

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21

Fields, Sarah K. Owning a Face: Publicity and Advertising. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040283.003.0005.

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This chapter explores the Don Newcombe's lawsuit against Coors Brewing Company Newcombe played in the Negro baseball leagues until 1949, when the Brooklyn Dodgers signed him after Jackie Robinson broke the color barrier in 1947. He had a stellar career, winning the Most Valuable Player award, the Cy Young Award, and the Rookie of the Year award. However, his career in Major League Baseball was cut short in 1960, in part because of a continuing battle with alcohol. Eventually, Newcombe acknowledged his problem, and, as a recovering alcoholic, he served as a spokesman for the National Institute on Drug and Alcohol Abuse. As an anti-alcohol advocate, Newcombe was shocked when he discovered an advertisement for Killian's Irish Red Beer (a brand produced by Coors Brewing) that featured a drawing of an old-time baseball game in which the pitcher was a recognizable version of Newcombe. He sued Coors for a violation of his right of publicity but lost in the federal district court. Despite that decision, the Ninth Circuit of the U.S. Court of Appeals agreed with Newcombe and overturned the lower court, establishing that celebrity athletes had the right to choose how their image was used in advertising and allowing them to disassociate themselves from products they found distasteful.

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22

Phillips, Victoria. Martha Graham's Cold War. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190610364.001.0001.

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“I am not a propagandist,” declared the matriarch of American modern dance, Martha Graham, while on her State Department–funded tour in 1955. Graham’s claim inspires questions: the United States government exported Graham and her company internationally to more than thirty nations in Asia, Europe, Eastern Europe, and the Middle East, representing every seated president from Dwight D. Eisenhower through Ronald Reagan, and planned under George H. W. Bush. Although in the diplomatic field she was titled the “Picasso of modern dance,” and in later years “Forever Modern,” Graham was known to proclaim, “I am not a modernist.” In addition, she declared, “I am not a liberationist,” yet she intersected with politically powerful women such as Eleanor Roosevelt; Eleanor Dulles, sister of Eisenhower’s Dulles brothers in the State Department and CIA; Jackie Kennedy Onassis; Betty Ford; and political matriarch Barbara Bush. While bringing religious characters inspired by the Bible and the American frontier to the stage in a battle against the atheist communists, Graham insisted, “I am not a missionary.” To her abstract, mythic and biblical works, she added the trope of the American frontier. While her work promoted the United States as modern and culturally sophisticated, her casting promoted a vision of America as racially and culturally integrated. During the Cold War, the reconfigured history of modernism as apolitical in its expression of “the heart and soul of mankind” met political needs abroad with Graham’s tours. With her modernism, Graham demonstrated the power of the individual, republicanism, immigrants, and ultimately freedom from walls and metaphorical fences with the unfettered language of movement and dance as cultural diplomacy.

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23

Courage, Richard A., and Christopher Robert Reed. Roots of the Black Chicago Renaissance. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.001.0001.

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This anthology engages questions about origins of the Black Chicago Renaissance (1930-1955) from wide-ranging disciplinary perspectives. It traces a foundational stage from the 1893 World’s Columbian Exposition to onset of the Depression. Eleven essays contribute to recovering understudied black artists and intellectuals, remapping African American cultural geography beyond and before 1920s Harlem, and reconceptualizing the paradigm of urban black renaissance. Contributors probe the public lives and achievements, class and family backgrounds, education and training, areas of residency, and institutional affiliations of such African American cultural pioneers as writers Fannie Barrier Williams, James David Corrothers, Ida B. Wells-Barnett, and Fenton Johnson; visual artists William E. Scott, Charles C. Dawson, and King Daniel Ganaway; and dance teacher Hazel Thompson Davis. Organized chronologically and deploying rich archival explorations, these essays unearth local resonances of such world-changing events as the Columbian Exposition, First World War, Great Migration, 1919 Red Summer, and Jazz Age. They identify internally-generated, transformative forces that supported emergence of creative individuals and cultural circles committed to professional work in arts and letters. These individuals were often identified with the appellation “New Negro,” whose multiple (sequential, overlapping) meanings are explored in relation to the formation and growth of a geographically compact, racially homogenous, and increasingly autonomous Black Metropolis.

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