The surname Whitaker appears to have originated with the English place- name of Whitacre. Alexander Whitaker was the first Whitaker to immigrate to America, arriving in Jamestown, Virginia in 1611. One of the earliest whitakers in Kentucky was Isaac Whitaker of Perry County. He and his wife, Susannah were the parents of nine children. Descendants live in Kentucky and other parts of the United States.
VOWMES1 &2 Graham & Trotman, a member of the Kluwer Academic Publishers Group is one of Europe's leading publishers of MAJC?R COMPANIES OF EUROPE 1990/91, Volume 1, business information, and publishes company reference contaln~ us~ful information on over 4000 of the top annuals on other parts of the world as follows: comp~nles In the European Economic Community, excluding the UK, nearly 1500 companies of which are MAJOR COMPANIES OF THE ARAB WORLD covered in Volume 2. Volume 3 covers near~y 1100 of the MAJOR COMPANIES OF THE FAR EAST & AUSTRALASIA top companies within Western Europe but outside the MAJOR COMPANIES OF THE U.S.A. European Economic Community. Altogether the three volumes of MAJOR COMPANIES OF EUROPE now Please send for a free complete catalogue of the provide in authoritative detail, vital information on over company's books on business management techniques, 6600 of the largest companies in Western Europe. business law, finance, banking, export markets, oil technology, energy resources, pollution control and a MAJOR COMPANIES OF EUROPE 1990/91, Volumes 1 number of other subject areas to: The Editor, Major & 2 contain many of the largest companies in the world. The Companies of Europe, Graham & Trotman Ltd, Sterling area coverecj by these volumes, the European Economic House, 66 Wilton Road, London SW1V 1DE.
When Thelma and Louise outfought the men who had tormented them, women across America discovered what male fans of action movies have long known—the empowering rush of movie violence. Yet the duo's escapades also provoked censure across a wide range of viewers, from conservatives who felt threatened by the up-ending of women's traditional roles to feminists who saw the pair's use of male-style violence as yet another instance of women's co-option by the patriarchy. In the first book-length study of violent women in movies, Reel Knockouts makes feminist sense of violent women in films from Hollywood to Hong Kong, from top-grossing to direct-to-video, and from cop-action movies to X-rated skin flicks. Contributors from a variety of disciplines analyze violent women's respective places in the history of cinema, in the lives of viewers, and in the feminist response to male violence against women. The essays in part one, "Genre Films," turn to film cycles in which violent women have routinely appeared. The essays in part two, "New Bonds and New Communities," analyze movies singly or in pairs to determine how women's movie brutality fosters solidarity amongst the characters or their audiences. All of the contributions look at films not simply in terms of whether they properly represent women or feminist principles, but also as texts with social contexts and possible uses in the re-construction of masculinity and femininity.