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Journal articles on the topic 'Billy Al'

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Published: 26 July 2024
Last updated: 28 July 2024

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1

Harris, Reginald. "Billy." Harrington Gay Men's Fiction Quarterly 2, no. 1 (January 2000): 28–43. http://dx.doi.org/10.1300/j152v02n01_02.

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2

Alfano, Michelle. "Billy." Italian Canadiana 30 (October 28, 2022): 21–24. http://dx.doi.org/10.33137/ic.v30i.39442.

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3

Haupert, Michael. "Billy Martin: Baseball's Flawed Genius by Bill Pennington." NINE: A Journal of Baseball History and Culture 24, no. 1-2 (2015): 257–58. http://dx.doi.org/10.1353/nin.2015.0071.

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4

Kennedy, John, and Alice McDermott. "Charming Billy." Antioch Review 56, no. 4 (1998): 494. http://dx.doi.org/10.2307/4613759.

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5

LaHood, Marvin J., and E. L. Doctorow. "Billy Bathgate." World Literature Today 64, no. 1 (1990): 111. http://dx.doi.org/10.2307/40145900.

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6

Guzelimian, Ara. "Billy Budd." Opera Quarterly 4, no. 3 (1986): 164–65. http://dx.doi.org/10.1093/oq/4.3.164.

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7

MORGAN, SUSAN. "BILLY WILDER." Archives of American Art Journal 50, no. 1/2 (April 2011): 20–25. http://dx.doi.org/10.1086/aaa.50.1_2.23025820.

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8

Weiss, Ethan J. "Billy Idol." Perspectives in Biology and Medicine 63, no. 1 (2020): 66–72. http://dx.doi.org/10.1353/pbm.2020.0005.

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9

Werrell, Kenneth P., James J. Cooke, and Robert P. White. "Billy Mitchell." Journal of Military History 66, no. 4 (October 2002): 1225. http://dx.doi.org/10.2307/3093304.

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10

Seaton, Anthony. "Billy Liddell." Occupational Medicine 65, no. 1 (January 2015): 28. http://dx.doi.org/10.1093/occmed/kqu162.

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11

Wessling, Jordan. "Benevolent Billy." Philosophia Christi 19, no. 1 (2017): 181–91. http://dx.doi.org/10.5840/pc201719113.

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12

McGrady, C. "Reverend Billy." Radical History Review 2007, no. 99 (October 1, 2007): 273–81. http://dx.doi.org/10.1215/01636545-2007-018.

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13

Furui, Yoshiaki. "Hitting Billy: Mediated Interiority in Billy Budd." Literary Imagination 24, no. 1 (March 1, 2022): 25–37. http://dx.doi.org/10.1093/litimag/imac008.

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14

Anderson, Douglas, and Hershel Parker. "Reading 'Billy Budd'." Modern Language Review 88, no. 1 (January 1993): 181. http://dx.doi.org/10.2307/3730824.

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15

Margolies, Edward, and Cecil Brown. "Stagolee Shot Billy." African American Review 38, no. 1 (2004): 171. http://dx.doi.org/10.2307/1512250.

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16

Harvey, Bruce, and Hershel Parker. "Reading "Billy Budd"." Rocky Mountain Review of Language and Literature 46, no. 1/2 (1992): 102. http://dx.doi.org/10.2307/1347647.

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17

Toth, Emily, Virginia Kelley, and James Morgan. "Bringing up Billy." Women's Review of Books 12, no. 1 (October 1994): 27. http://dx.doi.org/10.2307/4021928.

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18

Haefliger, Kathleen, and Aaron Copland. "Billy the Kid." American Music 6, no. 3 (1988): 354. http://dx.doi.org/10.2307/3051900.

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19

Milder, Robert, and Hershel Parker. "Reading "Billy Budd."." American Literature 64, no. 2 (June 1992): 375. http://dx.doi.org/10.2307/2927847.

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20

Griffiths, Hugh. "General Billy Mitchell." IEEE Aerospace and Electronic Systems Magazine 36, no. 7 (July 1, 2021): 5. http://dx.doi.org/10.1109/maes.2021.3073668.

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21

Monteiro, G. "Melville's Billy Budd." Notes and Queries 60, no. 2 (April 15, 2013): 273. http://dx.doi.org/10.1093/notesj/gjt069.

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22

Loges, Max L. "Melville’s Billy Budd." Explicator 55, no. 3 (April 1997): 137–38. http://dx.doi.org/10.1080/00144940.1997.11484152.

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23

Brown, Richard. "Billy the kid." In Practice 37, no. 7 (July 2015): 374–75. http://dx.doi.org/10.1136/inp.h2818.

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24

Dewey, William L. "Billy R Martin." Neuropsychopharmacology 34, no. 13 (November 10, 2009): 2779. http://dx.doi.org/10.1038/npp.2008.203.

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25

Hoggett, Paul. "Thinking with Billy." Psychoanalysis, Culture & Society 25, no. 1 (February 11, 2020): 83–87. http://dx.doi.org/10.1057/s41282-019-00151-7.

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26

Crystall, Ben. "Burn-proof billy." New Scientist 196, no. 2635-2636 (December 2007): 38–39. http://dx.doi.org/10.1016/s0262-4079(07)63213-8.

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27

Wacker, Grant. "Billy Graham's America." Church History 78, no. 3 (August 21, 2009): 489–511. http://dx.doi.org/10.1017/s0009640709990400.

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Billy and I hit New York City at the same time, the summer of 1957. He was 38 and about to clinch his reputation as the premier evangelist in twentieth-century America. I was twelve and about to taste freedom. But not quite yet. Without my permission, my parents packed themselves and me into a steamy subway to go down to Madison Square Garden to hear the Great Man preach. I remember that he was witty and charismatic and at the end of the sermon thousands surged forward to give or recommit their lives to Christ. Beyond that, nothing stuck. Soon our first family vacation to the Big Apple was finished, and we headed back to the quiet of a small town in southwest Missouri. As a kid, I never could figure out what the big whoop over Graham was all about. I soon realized, however, that Graham's core constituents—the millions of preponderantly white, middle-class, moderately conservative Protestants we might call “Heartland Americans”—did not share my puzzlement. They knew exactly what the big whoop was all about.
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28

Sreekumar, Poorna. "Funeral for Billy." Journal of Medical Humanities 39, no. 4 (August 29, 2018): 569. http://dx.doi.org/10.1007/s10912-018-9539-8.

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29

Freeman, Castle. "Enough of Billy." New England Review 38, no. 2 (2017): 90–97. http://dx.doi.org/10.1353/ner.2017.0042.

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30

Bush, Elizabeth. "Billy Creekmore (review)." Bulletin of the Center for Children's Books 61, no. 2 (2007): 105–6. http://dx.doi.org/10.1353/bcc.2007.0654.

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31

Bush, Elizabeth. "Frozen Billy (review)." Bulletin of the Center for Children's Books 60, no. 4 (2006): 169. http://dx.doi.org/10.1353/bcc.2006.0815.

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32

Stevenson, Deborah. "Silly Billy (review)." Bulletin of the Center for Children's Books 60, no. 5 (2007): 204. http://dx.doi.org/10.1353/bcc.2007.0048.

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33

McGowan, Tony. "Weaponizing Billy Budd." Leviathan 13, no. 2 (May 19, 2011): 121–22. http://dx.doi.org/10.1111/j.1750-1849.2011.01487_4.x.

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34

Diallo, David. "Stagolee Shot Billy." Journal of American Folklore 119, no. 472 (April 1, 2006): 240–42. http://dx.doi.org/10.2307/4137928.

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35

Jenkins, Benjamin. "Recasting Uncle Billy." Public Historian 46, no. 1 (February 1, 2024): 43–73. http://dx.doi.org/10.1525/tph.2024.46.1.43.

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Social media have become platforms for attaching new meanings to the past. On Reddit, the community known as r/ShermanPosting has critically reexamined General William Tecumseh Sherman and the political meanings of the American Civil War, a conflict in which he played a major role. Content on r/ShermanPosting positions the general as a unionist and an accidental champion of civil rights. Redditors have employed this image to combat far-right rhetoric from other corners of social media. This article analyzes the content of r/ShermanPosting, particularly the user comments and popular memes that circulate on this site, to argue that netizens are reinterpreting the past and using digital history to make sense of the highly partisan political environment of the 2020s. Deeper collaboration with modern scholarship on the Civil War could enhance the meanings of content produced on this platform to offer an even more robust form of digital history. Above all, r/ShermanPosting demonstrates that memes, images paired with humorous captions, can make the past accessible online in humorous but meaningful ways.
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36

Sinfield, A. "Boys, Class and Gender: from Billy Casper to Billy Elliot." History Workshop Journal 62, no. 1 (January 1, 2006): 166–71. http://dx.doi.org/10.1093/hwj/dbl008.

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37

Mendus, Susan. "Innocent Before God: Politics, Morality and the Case of Billy Budd." Royal Institute of Philosophy Supplement 58 (March 2006): 23–38. http://dx.doi.org/10.1017/s1358246100009292.

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I begin with the story told by Herman Melville in his short novel, Billy Budd. The year is 1797. Britain is engaged in a long and bitter war against France, and the British war effort has been threatened by two naval mutinies: the Nore Mutiny and the mutiny at Spithead. The scene is His Majesty's Ship, the Indomitable, and the central character is Billy Budd, sailor. Billy Budd is a young man of exceptional beauty, both physical and moral, whose only flaw is a stammer. He is loved by all his fellow sailors except the master-at-arms, John Claggart. The incarnation of evil, Claggart recognises in Billy the incarnation of goodness, and is consumed by a jealousy which leads him to accuse Billy (falsely) of inciting the crew to mutiny. Alone with Claggart and the ship's Captain, Edward Vere, Billy hears the lying charge against him. He is enraged, but his stammer prevents him from responding in words. He strikes Claggart, and the blow is fatal. Billy Budd, sailor, has killed the master-at-arms of one of His Majesty's ships on active service, and the penalty for this is death.
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38

Mendus, Susan. "Innocent Before God: Politics, Morality and the Case of Billy Budd." Royal Institute of Philosophy Supplement 58 (May 2006): 23–38. http://dx.doi.org/10.1017/s1358246106058024.

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I begin with the story told by Herman Melville in his short novel, Billy Budd.The year is 1797. Britain is engaged in a long and bitter war against France, and the British war effort has been threatened by two naval mutinies: the Nore Mutiny and the mutiny at Spithead. The scene is His Majesty’s Ship, the Indomitable, and the central character is Billy Budd, sailor. Billy Budd is a young man of exceptional beauty, both physical and moral, whose only flaw is a stammer. He is loved by all his fellow sailors except the master-at-arms, John Claggart. The incarnation of evil, Claggart recognises in Billy the incarnation of goodness, and is consumed by a jealousy which leads him to accuse Billy (falsely) of inciting the crew to mutiny. Alone with Claggart and the ship’s Captain, Edward Vere, Billy hears the lying charge against him. He is enraged, but his stammer prevents him from responding in words. He strikes Claggart, and the blow is fatal. Billy Budd, sailor, has killed the master-at-arms of one of His Majesty’s ships on active service, and the penalty for this is death.
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39

HENSON, KAREN. "Introduction: Divo worship." Cambridge Opera Journal 19, no. 1 (March 2007): 1–9. http://dx.doi.org/10.1017/s0954586707002236.

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Stephen Daldry’s Billy Elliot (2000), a British film about a boy from the industrial north-east who forsakes his roots to train as a professional dancer, opens and closes with two almost mythic scenes of male dancing. In the first, the film’s opening, the eleven-year-old Billy lays the stylus on a T-Rex LP and, after a scratchy false start, the soundtrack begins with the 1978 ‘Cosmic Dancer’. Hopping onto his bed, Billy starts to leap up and down – first as any boy would, but then higher and higher, his body caught in slow motion in a variety of abstract poses. In the film’s final scene, we return to Billy dancing, this time as a mature, muscular adult arriving in the wings of a London theatre. This is the first and only time we see the grown-up Billy, and his face is kept from us so that we can focus on the strength and immensity of his limbs, the astonishing athletic body. At the climactic statement of a soaring late Romantic phrase – the music is now Swan Lake – Billy leaps onto the stage. Boy becomes man, adolescent energy is transformed into athleticism and film and soundtrack freeze, capturing Billy in another abstract leap.
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40

Meyers Skredsvig, Kari. "Billy as Lily: A feminist reading of Billy Budd." Revista de Filología y Lingüística de la Universidad de Costa Rica 16, no. 2 (August 30, 2015): 35. http://dx.doi.org/10.15517/rfl.v16i2.19422.

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Melville Billy Budd ha sido centro de mucha atención crítica para una miríada de razones que van desde la ética a la biográfica. Este artículo aborda el trabajo final de Melville desde un ángulo previamente inexplorado: un enfoque feminista. En mi proceso, el protagonista, Billy, y su difícil situación se ven como microcosmos de los problemas más grandes de género, identidad y nacionalismo. Como tal, ambos revelan facetas insospechadas que, una vez percibidas, son difíciles de ignorar no sólo, sino también a aceptar.Melville Billy Budd has been center of much critical attention for a myriad of reasons ranging from ethical to biographical. This article approaches Melville's final work from a previously unexplored angle: a feminist focus. In me process, the protagonist, Billy, and his plight are viewed as microcosms of larger issues of gender, identity, and nationalism. As such, both reveal unsuspected facets which, once perceived, are difficult not only to ignore but also to accept.
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41

LeVasseur, Todd. "Reverend Billy and the Church of Stop Shopping." Nova Religio 23, no. 3 (February 1, 2020): 86–109. http://dx.doi.org/10.1525/nr.2020.23.3.86.

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This article argues that the religious thought and rituals of Reverend Billy Talen are a form of dark green animist religion and function as a response to perceived human destruction of the biosphere. An overview of environment-centered religions mobilized by concerns over planetary metrics is presented, followed by a case-study analysis of Reverend Billy and the Church of Stop Shopping. It is argued that the religion espoused by Reverend Billy is an example of how contemporary concerns for environmental and social health are influencing contemporary religious thought and production. The religious activism of Reverend Billy and his church, aimed at liberating life from “consumerism” and fundamentalism, presents an “ideal type” example of the development of Earth-centered protest religions that may be found at the margin of capitalist society. As evidenced by Reverend Billy, aspects of this religious development will be predicated upon anti-globalization discourses and concerns for ecosystem health and sustainability.
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42

McKellar, Shannon. "Re-Visioning the ‘Missing’ Scene: Critical and Tonal Trajectories in Britten's Billy Budd." Journal of the Royal Musical Association 122, no. 2 (1997): 258–80. http://dx.doi.org/10.1093/jrma/122.2.258.

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Those familiar with Herman Melville's last novella, published posthumously in 1924 and entitled Billy Budd, Foretopman, will know that one of the most memorable scenes is in fact barely there. In the so-called ‘missing’ scene, all that readers know with any certainty is that Edward Fairfax Vere, captain of the warship Indomitable (later editions rename the ship Bellipotent), communicates to Billy Budd, a sailor, the verdict of a drumhead court. Billy is to die in the early hours of the following morning for the crime of striking and killing the master-at-arms, the malevolent John Claggart. Precisely what passes between Vere and Billy in the crucial scene — one pivotal for the denouement of the story — has remained for ever a literary mystery. Although the narrator provides some conjecture as to what may have happened in the compartment where Billy is held, all he can say for sure, in a sentence endlessly cited by Melville's critics, is ‘Beyond the communication of the sentence, what took place at this interview was never known.’
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43

Skloot, Floyd. "Billy Gardner's Ground Out." Antioch Review 61, no. 2 (2003): 198. http://dx.doi.org/10.2307/4614462.

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44

A Prisoner. "Billy Boomer, 1952-1995." Journal of Prisoners on Prisons 7, no. 2 (December 1, 1997): 9–10. http://dx.doi.org/10.18192/jpp.v7i2.5754.

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45

Economou, George, and Toby Olson. "Write Letter to Billy." World Literature Today 75, no. 2 (2001): 333. http://dx.doi.org/10.2307/40156591.

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46

Pond, Steven F., Billy Cobham, Michal Urbaniak, Mike Stern, Gil Goldstein, Tim Landers, Tazio Tami, et al. "Billy Cobham's Glass Menagerie." American Music 23, no. 4 (2005): 521. http://dx.doi.org/10.2307/4153075.

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47

Law, J. K. "Billy Budd. Benjamin Britten." Opera Quarterly 16, no. 1 (January 1, 2000): 153–56. http://dx.doi.org/10.1093/oq/16.1.153.

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48

Law, J. K. "Billy Budd. Benjamin Britten." Opera Quarterly 17, no. 4 (January 1, 2001): 777–80. http://dx.doi.org/10.1093/oq/17.4.777.

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49

McKee, David. "Billy Budd. Benjamin Britten." Opera Quarterly 8, no. 1 (1991): 112–14. http://dx.doi.org/10.1093/oq/8.1.112.

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50

Braverman, Albert S. "Melville's BILLY BUDD, SAILOR." Explicator 58, no. 1 (January 1999): 25–26. http://dx.doi.org/10.1080/00144949909596994.

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