“Too Little to Count as Looking”: Blackness and the Formation of the White Feminine in Eudora Welty’s The Golden Apples

2013 ◽  
Vol 66 (1) ◽  
pp. 95-114
Author(s):  
Laura J. Schrock
Keyword(s):  
Golden Apples

The influence of harvest date on the volatile composition of ‘Starkspur Golden’ apples

1995 ◽  
Vol 6 (3-4) ◽  
pp. 225-234 ◽  
Author(s):  
Maristella Vanoli ◽  
Costanza Visai ◽  
Anna Rizzolo
Keyword(s):  
Harvest Date ◽  
Volatile Composition ◽  
Golden Apples

Confronting the Medusa: Similes in The Golden Apples

2011 ◽  
Vol 3 (1) ◽  
pp. 51-61
Author(s):  
Monica Pavani
Keyword(s):  
Golden Apples

scholarly journals Patulin distribution in Fuji and Golden apples contaminated withPenicillium expansum

2006 ◽  
Vol 23 (12) ◽  
pp. 1316-1322 ◽  
Author(s):  
S. Marín ◽  
H. Morales ◽  
H. A. H. Hasan ◽  
A. J. Ramos ◽  
V. Sanchis
Keyword(s):  
Golden Apples

Who Could Speak If Every Word Had Meaning?

2017 ◽  
Author(s):  
Kyle Gann
Keyword(s):  
Ancient Greek ◽  
Greek Myth ◽  
Golden Apples ◽  
Acts Of God

This chapter attempts to provide an overview of Atalanta (Acts of God) (1982–87), which comprises three operas. Each opera focuses on one “apple,” or character, in Ashley's reinterpretation of the ancient Greek myth. In Ashley's idiosyncratic cosmology, the three golden apples thrown in front of Atalanta are transformed into three characters: the great jazz pianist Bud Powell; Ashley's uncle Willard Reynolds, described by Ashley as a shaman or storyteller; and the surrealist painter (and Mimi Johnson's late uncle) Max Ernst. Max, Willard, and Bud represent three aspects of opera: image, narrative, and music. In addition, the chapter briefly profiles two singers Ashley had met during the making of Atalanta and who would later become permanent members of his ensemble: Thomas Buckner and Jacqueline Humbert.

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