471 research outputs found
Nobbs, A B K, NX65394
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/407905Surname: NOBBS. Given Name(s) or Initials: A B K. Military Service Number or Last Known Location: NX65394. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 37735.236880
Item: [2016.0049.40180] "Nobbs, A B K, NX65394
[Autograph Letter Signed, 'George H. Nobbs,' to the Right Reverend Christopher Wordsworth‚ Bishop of Lincoln‚ asking for an Annotated Copy of the Scriptures “for the Use of the Congregation‚ and as an Heir-loom for the Descendants of the Community”‚ Explaining that they are Converting a Former Convict Store into a Church‚ and Describing the Origin of the Community on Pitcairn Island]
No full text"Large Octavo (ca. 25x20 cm). 2 pp., with an integral blank leaf. Brown ink on watermarked laid paper. Legible handwriting‚ but with some moderate water damage probably incurred in the mails‚ one edge ragged‚ other minor defects." (vendor's catalog description)George Hunn Nobbs (1799-1884) arrived on Pitcairn Island in 1828 and became the schoolmaster and an unordained pastor to a community descended from HMS Bounty mutineers and Tahitian islanders. On 18 October 1829 Nobbs married Sarah Christian‚ the granddaughter of Fletcher Christian, who had led the mutiny. In 1852 he was ordained in London and commissioned as Chaplain of Pitcairn Island. In 1856 the community moved to Norfolk Island‚ a Crown Colony previously occupied by convict prisoners. In this letter, written from Norfolk Island, Nobbs is writing to his superior, the Bishop of Lincoln, with the latest news from his “isolated, but happy home.” He asks for a copy of the Bible and proceeds: “The people I represent are the descendants of the Mutineers of H.M.S. Bounty - and formerly dwelling on Pitcairn Island‚ but now‚ by favour of our Gracious Queen‚ and philanthropy of influential Friends in England‚ in possession of the large portion of Norfolk Island.” He also refers to the Melanesian Mission‚ with whom the island was shared; describes the destruction of a church in a cyclone; and whaling boats being washed away by a tidal wave, noting that “we are now recovering from this elemental war‚ & hope to have our new Church ready for public Worship by Easter next. The consecration must‚ of course‚ be deferred until a Successor to our honoured and beloved Friend Bishop Patterson is appointed...” He expresses his readiness to provide further information about the community, “should Your Lordship be desirous”, and additionally asks for the bishop’s “autograph on the “Fly Leaf” with a word or two of paternal salutation to the community.
Beauchamp-Nobbs, Eileen, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/370901Surname: BEAUCHAMP-NOBBS
Given Name(s) or Initials: EILEEN
Military Service Number or Last Known Location: No Service Number
Missing, Wounded and Prisoner of War Enquiry Card Index Number: 25288181256
Item: [2016.0049.03228] "Beauchamp-Nobbs, Eileen, [No Service Number]
The Not-So-Singular Life of Albert Nobbs
No full textThe short story “Albert Nobbs” by the Irish novelist George Moore first appeared in A Story-Tellers Holiday, in 1918. In 1977, a play, La Vie Singulière d’Albert Nobbs, adapted from the Moore story, was written and directed by the French theatre director Simone Benmussa, and performed at the Théâtre d’Orsay, Paris. The play was subsequently translated into English by Barbara Wright, and later again made into a film starring Glenn Close in the titular role. The story of Albert Nobbs, therefore, is one of multiple adaptations and translations. In this chapter, Noonan first considers the techniques Benmussa used to make a play that exposes the coercive nature of narrative within patriarchy, and the relationship between performance and gender. She goes on to show that Benmussa ransacks the original text to serve her own ends. Drawing on Julie Sanders’s work on the relationship between adaptation and appropriation (Sanders Adaptation and Appropriation. Routledge, London, 2006, 2016), Noonan frames Benmussa’s Albert Nobbs in the context of works of literary appropriation—works that seek both to foster historical understanding and insist on a radical break with tradition. However, in the case of Benmussa’s Albert Nobbs, appropriation of George Moore’s original narrative enables an intense form of creative play, where multiple versions of Albert become manifest on the stage, creating a space of fluidity between source text and appropriation, past and present, fiction and theatre
'Albert Nobbs', Ladies and Gentlemen, and Quare Irish Female Erotohistories
No full textThis essay models an approach to quare Irish female erotohistoriography through analyzing George Moore's 1918 novella 'Albert Nobbs' (later adapted as The Singular Life of Albert Nobbs by French feminist playwright Simone Benussa in 1977, and then as the 2011 film, Albert Nobbs, adapted by and starring Glenn Close) and Emma Donoghue's 1996 stage play, Ladies and Gentlemen. Both Irish-authored works concern the lives of mid- to late nineteenth-century individuals born as biologically female who live or perform as men. I focus on representations of the erotic at the juncture of love and marriage in these works in a bid to recover quare Irish female 'erotohistories.' This approach follows Elizabeth Freeman's use of 'erotohistoriography' and Noreen Giffney's embrace of 'quare theory' as an Irish practice of queer theory that insists on the intersection between queer, lesbian, and feminist work. The desires detailed in these works call into question historical understandings of Irish female identity circumscribed by heteronormative frameworks. In turn, 'Albert Nobbs' and Ladies and Gentlemen ultimately reveal how these same frameworks must conceal the quare as constitutive of their own existence.peer-reviewe
Communicating fashion in the new era: understanding social media and corporate social responsibility
No full textWho hasn't heard of the famous Antwerp Six? They have become recognised names in the fashion world and Belgium has plenty more budding new talent waiting to follow in their footsteps. However, the current economic climate is changing rapidly; globalisation and growing competition
are increasingly important factors to survival within this fast-moving industry. Luxury brands and major chain stores are taking over the market; digitalisation and online sales are turning traditional-value chains on their head and the need for sustainability is becoming a priority. This invaluable book offers the knowledge and skills that the fashion sector needs, to take advantage of these trends: financial management, internationalisation strategies, fashion marketing and social media, production and distribution
ARTEFATOS CULTURAIS - ALBERT NOBBS
No full text“Albert Nobbs” é um drama que se passa na
Irlanda no final do século XIX e que mostra as
situações pelas quais passavam muitas mulheres da
época que se faziam passar por homens. Albert (Glenn
Close) trabalha como garçom em um hotel para ricos
decadentes, é uma pessoa muito discreta e reservada, o
que o ajuda a guardar um segredo que já dura mais de
30 anos. Porém, esse segredo é ameaçado com a
chegada de Hubert Page (Janet Mc Teer), que veio
trabalhar como pintor no hotel e acabou indo parar no
mesmo quarto que Albert. Porém, o Sr. Page também
guarda um segredo, o mesmo segredo que Albert. Ao se descobrirem como mulheres
escondidas sob a capa de homens, as duas ficam amigas e o desenrolar dessa história é
emocionante, com momentos de desespero e esperança de uma vida melhor
Da desidentificação ao silenciamento: uma análise discursiva sobre a transexualidade no filme Nobbs, Albert
No full textO presente artigo tem como objetivos analisar o discurso sobre a transexualidade no filme Nobbs, Albert e a constituição da identidade transexual da personagem Nobbs. Para isso, considera as diferentes posições-sujeito ocupadas por ele, a ver sua identificação, contraidentificação ou desidentificação com a formação discursiva em que se inscreve. As análises terão como corpus recortes do filme que façam referência a elementos como o corpo, as vestimentas, os acessórios e também o nome social adotado pelo sujeito. Como dispositivo teórico e analítico, será utilizada a Análise de Discurso Francesa, proposta por Michel Pêcheux, considerando conceitos como formação discursiva, silêncio, memória discursiva, interdiscurso e posição-sujeito. Para abordar as questões do corpo enquanto discurso e de suas relações com o gênero, as discussões ainda terão ancoragem teórica em Butler (2017). Com as análises discursivas, observou-se como diferentes materialidades discursivas podem produzir efeitos de sentido na (res) significação da identidade de sujeitos transexuais como Nobbs. Além disso, é ponderável que, como consequência à porosidade e fluidez das formações discursivas, a constituição identitária do sujeito como transexual também não pode ser linear e definitiva. Ela é constantemente ressignificada, podendo o sujeito irromper em novas discursividades e, consequentemente, em novas identidades.
Ruby (Rutherford) Nobbs and Estelle Dickey with unidentified person having a meal at cabin on Mt. Revelstoke
No full textNobbs (left) and Dickey (right)
\u27Albert Nobbs\u27, Ladies and Gentlemen, and Quare Irish Female Erotohistories
No full textThis essay models an approach to quare Irish female erotohistoriography through analyzing George Moore\u27s 1918 novella \u27Albert Nobbs\u27 (later adapted as The Singular Life of Albert Nobbs by French feminist playwright Simone Benussa in 1977, and then as the 2011 film, Albert Nobbs, adapted by and starring Glenn Close) and Emma Donoghue\u27s 1996 stage play, Ladies and Gentlemen. Both Irish-authored works concern the lives of mid- to late nineteenth-century individuals born as biologically female who live or perform as men. I focus on representations of the erotic at the juncture of love and marriage in these works in a bid to recover quare Irish female \u27erotohistories.\u27 This approach follows Elizabeth Freeman\u27s use of \u27erotohistoriography\u27 and Noreen Giffney\u27s embrace of \u27quare theory\u27 as an Irish practice of queer theory that insists on the intersection between queer, lesbian, and feminist work. The desires detailed in these works call into question historical understandings of Irish female identity circumscribed by heteronormative frameworks. In turn, \u27Albert Nobbs\u27 and Ladies and Gentlemen ultimately reveal how these same frameworks must conceal the quare as constitutive of their own existence
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