4,349 research outputs found
Faith, feeling and gender in the writing of Hartley, Wollstonecraft and Blake
No full textThis thesis examines David Hartley’s Observations on Man (1749) and elucidates how Hartley’s mechanical approach to mind, his conception of emotion, and the religious status he awards the body were newly relevant after 1791. In this way it identifies a ‘Hartlean culture’ within the Romantic period and seeks to explore how such an intellectual climate influenced the radical writers William Blake (1757–1827) and Mary Wollstonecraft (1759–1797). Blake and Wollstonecraft were acquainted with the famous bookseller Joseph Johnson, who republished Observations on Man in various forms and versions between 1775 and 1801. They also had an association with Johnson’s circle; the Hartlean concepts found throughout their work evidence Hartley’s latent popularity within intellectual culture, as well as the writers’ engagement with contemporary philosophical ideas. I propose that the renewed curiosity in Hartley during the 1790s reveals a specific religious and revolutionary culture wherein non-conformist views about Christianity and new ideas about the body, emotion and women flourished. Such a cultural moment renders Hartley a particularly important figure for debate since he integrated progressive values about equality and faith alongside advancing understanding of anatomy and mind. Hartley identified how God and happiness could be found physically within each person. He did this by combining a complex theory of vibrations and theory of association, where the body and mind functioned mechanically through a person’s feelings of pleasure and pain. These feelings manifested as physical vibrations and eventually led every person to desire goodness until finally, they can become ‘Godlike’ themselves. Hartley’s amalgamation of Christian and new theoretical concepts appealed to Blake and Wollstonecraft, and was much unlike the approach of Joseph Priestley who abridged Observations in 1775 to promote a wholly ‘scientific’ text. In this way, we can see resonances between Hartley, Blake and Wollstonecraft, even if they existed in different cultural contexts. In rethinking Blake and Wollstonecraft through Hartley, I offer new insights into their feminism. In particular I attend to how Hartlean culture enabled these writers to re-imagine gender and emotion: Wollstonecraft reinstates the female experience back into Hartlean concepts in order to promote women’s emotional potential and what she understands as the special power of the female-female bond. Blake responds to both Wollstonecraft and Hartley with his elevation of the feminine, one that envisions new potential for both sexes, emotionally and spiritually. In both cases, the writers share a fascination for the image of the female saviour, and they use terminology and concepts found in Hartley’s work to communicate their views. In being attentive to the shared vocabulary and ideas of these three writers’ works, this thesis highlights the importance of David Hartley and Hartlean culture for the field of Romantic Studies. It also illuminates Observations on Man as a vital contribution to the intellectual context of the 1790s
Reading Ruth : towards a postmodernist, literary and womanist analysis
No full textBibliography: leaves 132-140.This dissertation examines the book of Ruth from a postmodemist, literary and womanist perspective. The main methodology is postmodemist literary criticism, but it employs intertextual and autobiographical approaches as well. Chapter 1 is an exploration of the plot of Ruth and reveals that in order for the end goal of the plot to be achieved "emptiness has to return to fullness." It is shown that Ruth's action (her decision to return with Naomi) is the catalyst that begins the process that ultimately leads to the denouement of the plot. The fact that it is the two women, Ruth and Naomi, who drive the plot forward, indicates that the Book of Ruth is a woman's story. Chapter 2 demonstrates that the significance of narrative time for any literary analysis lies in the fact that the amount of time allowed for the retelling of the events rarely corresponds to the time it took for the events to happen. Since Ruth is a short story, the choice of what to tell, what to omit as well as how long to dwell on details are indeed significant. In other words it is shown that literary time is only spent on those aspects which are crucial for the advancement of the narrative. Since the reader's main goal is to see how the conflicts are resolved, the literary time spent on the resolution of the conflicts is an indication of where the weight of the story needs to lie. In this case, it is certainly with Ruth and Naomi judging from the amount of time spent on dialogues between the two women. They are therefore the ones that contribute to the resolution of the conflicts of the plot. Chapter 3 reveals that in the book of Ruth the narrative voice or the perspective of attitudes, conceptions and worldview are those of a woman. The fact that the book of Ruth is named after a woman; the fact that at the very outset all the males in the story die and it is the women that take over the narrative; the fact that in the end the women of Bethlehem declare that Ruth is better to Naomi than seven sons are just some of the reasons that substantiate the argument that the narrative voice in the book of Ruth was that of a woman. It is also shown that this narrative voice (whether overt or covert) subverts gender and ethnic expectations. Chapter 4 outlines the way in which biblical characters are portrayed. The subsections of chapter 4 deal with the characterisation of each major character: Naomi, Boaz, and Ruth. Chapter 4 is the longest chapter since it is difficult to evaluate characterisation without engaging the other facets of literary criticism as well, such as plot and dialogue
Box 43, Neg. No. 52371: Harvey Blake, Ruth Dunn and Gale Beaman
No full textThis black and white photograph features a portrait of Harvey Blake (left), Ruth Dunn and Gale Beaman (St. John High School Debate Team of 1920) - Ruth is sitting between Harvey and Gale who are sitting backwards and looking to the camera. Ruth is wearing a dark colored dress and the boys are wearing suits. Ruth Dunn; Harvey Blake; Gale Beaman - St. John High School 1920 Debate Team ordered the photograph.https://scholars.fhsu.edu/stafford_county/6128/thumbnail.jp
Art at Mirage
No full textCreated for a performance by the poet Ruth Weiss.Signed by Ruth Weiss and Paul Blake. Numbered 16/15
Dr. Ruth Westheimer: Sexually Speaking
No full textRuth Westheimer (born June 4, 1928), better known as Dr. Ruth, is a globally recognized psychosexual therapist, media personality, author, radio, television talk show host, and Holocaust survivor. Her media career began in 1980 with the radio show Sexually Speaking, which continued until 1990. She has hosted several series on the Lifetime Channel and other cable television networks from 1984 to 1993 and is the author of 45 books on sex and sexuality
Ruth Stone, 12th Annual ODU Literary Festival
No full textRuth Stone is the author of six books or chapbooks of poetry: In an Iridescent Time, 1960; Topography and Other Poems, 1971; Unknown Messages, 1973; Cheap, 1975; American Milk, 1986; Second-Hand Coat: New and Selected Poems, 1987. Three new books will be published this year: Who is the Widow\u27s Muse?; The Yasha Poems, and The Solitary. We were very fortunate that Ruth Stone taught creative writing as a visiting faculty member at Old Dominion University during 1989-90
Revelatory Words and Images: William Blake and the Artist\u27s Book
No full textMerging literature and visual art, artist’s books reveal the fascinating experiment between word and image. The works of the Romantic poet, printer, and visionary William Blake invite exploration of this relationship. Blake\u27s illustrations in Songs of Innocence and Experience, revelatory in themselves, often subtly undercut or complicate the meanings of his writings, offering a complex view of the songs as both literary creations and material objects. Blake conceived the medium of the book as an ideal vehicle that, marrying text and image, had the power to join the author and the reading public. In addition to interpreting Blake\u27s poems, I examine his books as material objects, paying special attention to the relation of text and image. With Blake\u27s powerful example in mind, I proceed to examine contemporary “artist’s books” in order to gain insights into the continuing evolution of the book form
Teaching cultural economics
No full textThe author lays out her journey to specialization in cultural economics from her school days to the present. Along the way, she was involved in setting up the Master’s degree in Cultural Economics and Cultural Entrepreneurship at Erasmus University Rotterdam (EUR), where she taught courses in cultural economics and economics creative industries for a number of years. Within cultural economics, she specializes in the economics of copyright and was involved in the development of the Society for Economic Research on Copyright Issues (SERCI). The main focus of her work has been on artists’ labour markets and the role of copyright in paying creators and performers. In her long career, Ruth Towse has taught economics on a variety of courses, always in the belief that its application, both theoretical and empirical, illuminates policy issues even in the cultural arena, which is often regarded in some sense above economics. Her work and that of other cultural economists has repeatedly shown how it does so
Ruth West interview on Digital, Web and Multimedia Design program
No full textThis is a an interview with Springfield College professor Ruth West on the history of the Digital, Web and Multimedia Design program. The interview was conducted over zoom. The interview is a 10 minutes and 44 seconds long.Ruth West is an internationally-recognized artist who has been working with computer art for the last 25 years. One of the first two graduates of the University of Massachusetts with a Master of Fine Arts degree in computer graphics, West's art has grown steadily along with her chosen medium. She works with digital collage, flash interactivity, and web design. She was also the director of digital web and multi media at Springfield College at the time of the film, and she still works at the college as of 2020 in Blake Hall as an Associate Professor of Art.Digital files only. A document marker has been put into her faculty file describing the digital file
The Singer or the Song? Developments in Performers' Rights from the Perspective of a Cultural Economist
No full textOver the last century, performers gradually acquired statutory protection of their economic and moral
rights. These rights are not copyright in the legal sense but neighboring rights and until recently, they
were mainly remuneration rights that are collectively administered. With the WPPT (WIPO
Performers and Phonograms Treaty), performers now have individual exclusive rights for digital
performances; this leads to the question: what has motivated this change – is it a change in the
perception of the value of performer or a change brought about by the changing technology of copying or,
indeed, a change that reflects different economic costs and benefits? The paper discusses the role of
copyright law as an incentive to performers and asks if the economic role of the performer is so different
from that of the author. The conclusion is that a complex interaction of the legal regulations, economic
conditions and institutional arrangements for administering these new rights will determine the outcome
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