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Archival description
Beverley Simons fonds
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Professional and Personal Records

The series contains records related to the business aspects (financial and administrative) of Simons’ professional career as writer and records from her personal life. Records have been maintained in one series because of their physical indivisibility. Professional records range in date from the early 1970s to 2012; personal records span the mid-1950s to 2012.

Simons’ professional activities fall into the following categories: financial administration, primarily grant applications and the receipt of publication royalties; publication and production administration, which involved the negotiation and signing of publishing contracts and play distribution and production; submissions, which included sending drafts of various literary works and curriculum vitaes to a range of potential producers and publishers; promotion, often giving readings at various events, serving as artist in residence at the University of Lethbridge in 1984, managing the production and distribution of a videotape version of Crabdance (c. 1977, Access Alberta), participating in interviews with members of the press, and corresponding with academics; and service, especially in the form of mentoring younger writers, and, on occasion, adjudicating writing or grant competitions. Simons’ personal records include correspondence with friends and family and records pertaining to her divorce (1984-1991).

The archivist maintained the physical order in which records in this series were received. Some files are arranged in chronological order, while others, particularly subject files, have no discernible order. Record types in the series include the following: grant applications and follow-up reports; royalty reports from Talonbooks; letters accompanying manuscript submissions; acceptance and rejection letters; correspondence regarding permissions, publication, and productions; endorsements and comments on Simons’ publications from various academics, producers, publishers, and writers; academic treatments of Simons’ work, particularly master’s theses by Gyllian Raby (1982) and Amanda Lockitch (2005) and an issue of Canadian Theatre Review (1976) devoted to Simons’ dramatic works; drafts of Simons’ curriculum vitae; copies of Simons’ colleagues’ and mentees’ works; texts of remarks delivered at promotional readings; newspaper clippings, likely used for background research; professional headshots of Simons; divorce affidavits; personal correspondence, both handwritten and in email form; recordings on cassette tape and VHS cassettes of lectures and readings given by Simons; and a seven inch 33 1/3 LP record bearing recordings of sound poetry from The Capilano Review.

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