1,602 research outputs found
‘A Well-Balanced Education’: Catholic Women’s Colleges in New Jersey, 1900-1970
No full textBy examining Catholic women's colleges in New Jersey during the period 1900-1970, this paper illustrates the complexity of developing a typology of Catholic women's colleges in the United States. The first Catholic women's college in New Jersey, College of Saint Elizabeth was established in 1899 by the Sisters of Charity; followed by Mount St. Mary's, later known as Georgian Court College, in 1908; Caldwell College in 1939; and Felician, originally a junior college, in 1967. Earlier typologies of Catholic women's colleges have divided them into elite liberal arts institutions and local, vocationally-oriented colleges which served the working and lower-middle-class daughters of immigrants. Using college catalogs and yearbooks from the four New Jersey colleges, this study compiles data on curriculum, the education of faculty, college costs, and student origins, and compares it to similar data from two elite colleges, Trinity in Washington, D.C. and Manhattanville in Purchase, New York. In spite of some pressure to offer vocational courses and the challenge of giving women religious faculty members the opportunity to pursue doctoral degrees, during this period New Jersey's Catholic women's colleges provided a Catholic liberal arts education for white middle-class women not unlike that offered at better known and more prestigious colleges. Only after 1970 did social and demographic changes begin to have an impact on the curriculum and student population of this sector of Catholic higher education.Peer reviewe
A dança magnífica de Fernanda Botelho
Full text linkFernanda Botelho publicou em Gritos da Minha Dança uma série de textos inéditos de variada tipologia. Não se trata, no entanto, de uma colectânea informe, porque, rendibilizando, de forma magnífica, os processos de fragmentação textual, a escritora alcança uma totalidade pulverizada, em perfeita harmonia com a experiência humana que subjaz ao livro.In Gritos da Minha Dança, Fernanda Botelho has gathered a collection of unpublished texts pertaining to distinct literary genres. We are not dealing, however, with an
unstructured collection since, by masterfully taking advantage of procedures
encompassed in textual fragmentation, the author attains a scattered wholeness in tune
with the human experience imbedded in the book.publishe
Female portraits in Fernanda Botelho’s fictional cycle: narratives voices and melancholy atmosphere
Full text linkFernanda Botelho (1926–2007) é autora de uma obra ficcional marcada pela originalidade em vários aspectos, que se estende por cerca de meio século, embora se conta entre as escritores contemporâneas injustamente esquecidas. No ciclo ficcional de Fernanda Botelho da década de 1990, dotado de afinidades diversas – Festa em Casa de Flores (1990), Dramaticamente vestida de negro (1994) e As Contadoras de histórias (1998) –, a escritora detém-se na análise de significativa galeria de figuras femininas e em algumas das questões envolventes, num quotidiano dominado por uma banalidade inquietante: ponto de vista e consciência crítica; psicologia e identidade; relações interpessoais e condição social; sentimentos de angústia e papel da memória; ambiguidade e inconformismo ético-social; manifestações de humor e de ironia.Fernanda Botelho (1926–2007) is the author of a fictional work marked by originality in many respects, which spans about half a century, although it is among the unjustly forgotten contemporary writers. In Fernanda Botelho’s fictional cycle of the 1990s, endowed with different affinities – Festa em Casa de Flores (1990), Dramaticamente vestida de negro (1994) and As Contadoras de histórias (1998) –, the writer focuses on the analysis of significant gallery of female figures and some of the surrounding issues, in a daily life dominated by a disturbing banality: point of view and critical awareness; psychology and identity; interpersonal relationships and social condition; feelings of anguish and role of memory; ambiguity and ethical-social non-conformism; manifestations of humor and irony.info:eu-repo/semantics/publishedVersio
'To Save Them from the Dangers to their Faith’: Documenting Student Life at Catholic Women's Colleges
No full textThis article focuses on student life at Catholic women's colleges in the United States during the 20th century. These colleges helped acculturate many daughters of immigrants to middle-class American society, at the same time creating a specifically female and Catholic culture on college campuses. This evolving culture, which was characterized by the ideals of femininity, religion, and service, can be reconstructed through documentation from the college archives.Peer reviewe
Vanished Worlds: Searching for the Records of Closed Catholic Women’s Colleges
No full textThis article presents the results of a survey of the archives of 36 Roman Catholic women's colleges that have closed or merged with other institutions since 1967. The majority of these archives are held by the women's religious communities that originally sponsored the colleges, although about one third are held by universities. These archives are rich resources on the history of women, education, religion, and culture that to some degree have been neglected by scholars who have focused on the history of colleges that are still open. As well as suggesting avenues for future research, this article contributes to the literature on how archives can cope with the voluminous records of twentieth-century institutions, and to emerging scholarship on the relationship of archives and memory. The survey upon which it is based revealed certain limitations on preservation, access, and use of these archives, so the article concludes with recommendations on how to make them more visible.Peer reviewe
Autobiography and sexual dissidence in 'Princesa' by Fernanda Farias de Albuquerque.
Full text linkCon la publicación de Princesa (1994), breve texto autobiográfico de la autora brasileña Fernanda Farias de Albuquerque, empieza una nueva fase de la literatura italiana de la migración. Por primera vez, las temáticas de la diáspora, relacionadas con la construcción de la identidad social y cultural, se entrelazan con la narración de la definición de la identidad de género. Fernanda Farias de Albuquerque relata su experiencia de mujer migrante y transexual, haciendo hincapié en todos aquellos factores que han contribuido a su autodeterminación sexual y de género. En el presente artículo se analiza parte de la correspondencia privada de la autora con su amigo Giovanni Tamponi, en las que recurre las principales etapas de la relación con su cuerpo y de la construcción de su identidad sexual.With the publication of Princesa (1994), a short autobiographical text by the brazilian author Fernanda Farias de Albuquerque, a new phase of Italian migration literature begins. For the first time, diaspora themes, related to the construction of social and cultural identity, are intertwined with the narrative of the definition of gender identity. Fernanda Farias from Albuquerque recounts her experience as a migrant and transsexual woman, emphasizing all those factors that have contributed to her sexual and gender self-determination. This article analyzes part of the author's private correspondence with her friend Giovanni Tamponi, in which she discusses the main stages of her relationship with her body and the construction of her sexual identity
Glimpses of a footprint without an archive
No full textEl presente texto corresponde a la introducción del libro La convulsión coliza. Yeguas del Apocalipsis (1987-1997), de Fernanda Carvajal, recientemente editado por la editorial chilena Ediciones Metales Pesados. Agradecemos la posibilidad de su reproducción autorizada a la autora y la editorial.This text corresponds to the introduction of the book La convulsión coliza. Yeguas del Apocalipsis (1987-1997), by Fernanda Carvajal, recently published by the Chilean publishing house Ediciones Metales Pesados. We thank the author and the publisher for the possibility of its authorized reproduction.Fil: Carvajal, Fernanda. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Ciencias Sociales. Instituto de Investigaciones "Gino Germani"; Argentin
Necropolítica, monstruosidad y resistencia en “Subasta”, de María Fernanda Ampuero
Full text linkThe article presents a reading of the story “Subasta” by the Ecuadorian writer María Fernanda Ampuero with which she begins her book Pelea de gallos (2021), based on the proposal formulated by the Mexican philosopher Sayak Valencia, who has highlighted the bloodthirsty and predatory features of the most recent phase of capitalism, whose monstrous dynamics have been naturalized, among other media representations, by the so-called gore cinema, legendary for the filmic recreation of all types of ignominious attacks on people. The inherent violence and cruelty to this economic formation are effectively fictionalized by the author of the selected story. In “Subasta” the protagonist, whose name we never know, deploys a surprising strategy of resistance to survive the horror to which she is subjected and paradoxically recover her human condition.El artículo presenta una lectura del cuento “Subasta”, de la escritora ecuatoriana María Fernanda Ampuero, con el que inicia su libro Pelea de gallos (2021), a partir de la propuesta formulada por la filósofa mexicana Sayak Valencia, quien ha destacado los rasgos sanguinarios y depredadores de la fase más reciente del capitalismo, cuya dinámica monstruosa ha sido naturalizada, entre otras representaciones mediáticas, por el llamado cine gore, legendario por la recreación fílmica de todo tipo de agresiones ignominiosas a las personas. La violencia y crueldad inherentes a esta formación económica son ficcionalizadas de una manera eficaz por la escritora en el relato seleccionado. En “Subasta” la protagonista, cuyo nombre nunca conocemos, despliega una estrategia de resistencia sorprendente para sobrevivir el horror a que es sometida y, paradójicamente, recuperar su condición humana.
[1] Ver: María Fernanda Ampuero (2021) Pelea de gallos, Ciudad de México, Primera reimpresión, Páginas de espuma
Análisis narratológico de Hay palabras que los peces no entienden, de María Fernanda Heredia.
Full text linkEn la presente investigación se realiza un análisis narratológico de Hay palabras que los peces no entienden, de la autora ecuatoriana María Fernanda Heredia, aplicando la teoría de la narratología desarrollada por Mieke Bal en La teoría de la narrativa y la de Manuel Corrales en Iniciación a la narratología.
Con este análisis literario se determinó qué aspectos estructurales, formales y técnicos utilizó la autora en su creación literaria, haciendo especial hincapié en los siguientes elementos: acontecimientos, actantes, tiempo, espacio, narración, oponente, destinatario, destinador, y focalización.
Basándose en este modesto estudio, se podría iniciar a los jóvenes lectores en el análisis literario básico y contemplar aspectos inéditos de Hay palabras que los peces no entienden dentro del conjunto de la narrativa de María Fernanda Heredia.This research presents a narratological analysis of Hay palabras que los peces no entienden by the ecuadorian author María Fernanda Heredia, by applying the theory of the narratology developed by Mieke Bal in La teoría de la narrativa and Iniciación a la narratología by Manuel Corrales.
Within the literary analysis determined that structural, formal and technical aspects used the author in her literary creation. This analysis focuses mainly on the following items: events, actants, time, space, narration, opponent, recipient, sender, and targeting. This modest study could guide young readers to start at the basic literary analysis and consider other unknown aspects within the whole narrative of Maria Fernanda Heredia
Aesthetic Interventions in Post-2001 Argentina: The Curious Case of Fernanda Laguna
No full textThe essay works on a young author Fernanda Laguna who, in her works, uses new forms of resistance such as coopertivity, togetherness and body as a way to resist capitalism. The underling thought is that the capitalist practices cannot totalize the new forms of resistance
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