678 research outputs found
Marguerite Culp Thesis
No full textMiddle school arts programs play an important role in studentsâ academic growth. Unfortunately for many middle schools, especially those in urban settings, the arts programs tend to be an ancillary and a minimal part of student education. This is especially true for current public schools facing budget cuts in tough economic times. This thesis examines how collaboration between the John B. Stetson Middle School in Philadelphia and a local community based organization, ASPIRA, in partnership with ArtsRising, revitalized and increased the importance of the school art department.M.S., Arts Administration -- Drexel University, 201
Re-visioning one's selves: mirror reflections in the autobiographical works of Marguerite Duras
No full textThis thesis explores the construction of the central figure of a cycle of four works relating to Marguerite Duras' adolescence in Indochina: Un Barrage contre le Pacifique, L'Eden Cinéma, L'Amant, and L'Amant de la Chine du Nord. In these texts, biographical fact - the conventional foundation of autobiographical writing – is shown to be mutable, as Duras (re)creates and re-visions the past and self in question. The plurality of Duras' textual history suggests that the central figure's construction does not lie, as we might have anticipated, in a performative reading of her past. A new and alternative explanation for the central figure's construction is proposed: namely, that she is described by a series of mirror reflections within, between, and beyond the texts. The thesis is divided into four sections. Chapter I draws upon psychoanalytical and feminist theories to introduce the notion of mirror reflections in intra- and extra-textual contexts, with particular reference to interpersonal relationships, textual devices and reader involvement. Chapter II examines the deliberate alteration of the central figure's image and reflection, discussing questions of power, performance, and (self-) objectification. Chapter III focuses on the interaction between writing and written selves, on the re-visioning of self and history, and questions the 'autobiographical' status of these texts. Chapter IV suggests that the four accounts act as intertextual mirrors, forming contradictory reflections that profoundly shape the reading experience by destabilising any previously confirmed sense of the textualised selfhood. The iterative (dis)establishment of the written self is also explored in relation to Duras' perception of writing as a process that is concurrently creative, destructive and chaotic. It is concluded that the mirror trope is indeed useful in describing the construction of the central figure of these texts, yet it brings the reader no closer to locating the central self and her past in a form that is neither plural nor provisional
Biography of Marguerite Andell
No full textBrief biography of Marguerite Andell, highlighting her nursing service in the Charleston area and in France during World War I. Author is unknown
Letter from Marguerite L. Richards to Dean Mary Ingraham Bunting, December 2, 1956
No full textAfter the Soviets suppressed the Revolution in Hungary in 1956, approximately 200,000 Hungarians fled the country. Many Hungarian refugees came to New Jersey, some of whom were housed at Camp Kilmer, a military post near New Brunswick. Many members of the nearby Rutgers University community worked to help the refugees. In this copy of a letter, Marguerite L. Richards, Chair of the Department of Romance Languages at Douglass College, offers the services of the members of her department to assist with the refugees. These services included teaching English-as-a-second-language skills, providing transportation, donating books, sewing, and cooking
Self-Defence and Its Limits in Marguerite Porete’s Mirror of Simple Souls
No full textThis article examines how Marguerite Porete defended her ideas in her mystical treatise The Mirror of Simple Souls, which along with its author was condemned as heretical in 1310. Most scholarship has focussed on the final sixteen chapters of the Mirror as evidence of Marguerite's self-defence. This article shows that Marguerite was concerned with defending her ideas throughout the course of composing the Mirror, and not merely while writing the final chapters. Focussing on two key concepts in the Mirror which were singled out at her trial in Paris, it shows how Marguerite repeatedly presented these concepts in ways which were meant to shield them from criticism. The article then examines the reactions of two later readers of the Mirror to these defences, exploring their successes and failures and the vastly different ways in which they could be interpreted
Detailed profile of Northeast Harbor author Marguerite Yourcenar, who is better
No full textDetailed profile of Northeast Harbor author Marguerite Yourcenar, who is better known in other nations than in the United States
An article about a winter trip the author took with Maine artist Marguerite Robi
No full textAn article about a winter trip the author took with Maine artist Marguerite Robichaux to the Birches, a classic Maine sports camp at Moosewood Lake. They stayed in a yurt with a woodburning stove and outdoor privy and explored the resort\u27s trails on snowshoes. Robichaux contributed the illustrations for the article
Rachilde, Marguerite Eymery Vallette (1860-1953)
No full textThis is a biographical overview of the life and principle works of the French author Rachilde, a.k.a. Marguerite Eymery Vallette (1860-1953), one of the few women writers working in the masculinist field of fin-de-siecle or decadent fiction
Marguerite Yourcenar, traductrice
No full textMarguerite Yourcenar, known as an author, is also the translator of about a dozen works. My purpose here is to trace the evolution of her oeuvre in the field of translation in relation to her literary output. I have divided the former into three distinct periods, the first of which covers the closing years of the 1930s, when Marguerite Yourcenar translated Virginia Woolf's The Waves and Henry James's What Maisie Knew. Her interest in these authors is to a large extent stylistic. On the other hand, the translation of Constantin Cavafy's poetry, which was begun during the same period, reflects the intimist themes to be found in Marguerite Yourcenar's early narratives {Alexis and the others), although she was then already seeking out other thematic sources. The translation was only published in 1958. It consequently falls within a second period: that of the "présentations critiques" (critical commentaries). These major efforts in translation {Présentation critique de Constantin Cavafy, La Couronne et la Lyre, Fleuve profonde, Sombre rivière) are marked by a manifest preoccupation with the aesthetic. But themes of a more universal character and engagement in the socio-political sphere also enter into the choice of the texts for translation (negro spirituals, Présentation critique d'Hortense Flexner). These translations were contemporaneous with the creation of Marguerite Yourcenar's most important novels, namely Mémoires d'Hadrien and L'OEuvre au Noir. The last of the three periods, the 1980s, finds her tackling far less ambitious projects, the function of which tends increasingly towards ethical communication. The only one of them that bears any resemblance to the "présentations critiques" is the essay on Yukio Mishima and the translation of Cinq Nô Modernes, assuming that these are to be considered as an ensemble. Here, as elsewhere, it also emerges that Marguerite Yourcenar is largely indifferent to the existence of other translations.</jats:p
Marguerite Duras, scénariste exilée
No full textCet article, consacré à l'analyse du film Césarée de Marguerite Duras, examine la résurgence de l'activité scénaristique dans le texte filmique et veut vérifier comment celle-ci participe par surenchère de gestion textuelle au surgissement modal d'une mémoire en travail dans le film. Pour ce faire, l'auteure se penche sur la relative absence d'une figurativité écranique en rapport avec le mouvement figural de la narration et examine les conditions de la traversée des mondes narratifs possibles à l'écran. Il appert en somme que, scripteure ou scénariste exilée, Marguerite Duras joue de l'appareil scriptural du film comme d'une errance mémorielle.This article is an analysis of the film Césarée by Marguerite Duras. It examines the resurgence of screenwriting activity throughout the filmic text and attempts to investigate the part played by this activity through an apparent overworking of the text to the sudden appearance of memory at work in the film. To do so, the author relies on a relative absence of figurative representation on screen in relation to the narrative movement, and finally, examines the conditions for the passage on screen of possible narrative worlds. To summarize, it would appear that as a scriptwriter of exile, MargueriteDuras uses the entire filmic text as a journey through memory
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