744 research outputs found
Frank Lawley's Tin Lizzie
No full textPhotograph - Mrs. George Soper on the running board, with the vehicle decorated for Canada's 60th birthday, Athabasca, AlbertaSoper, Mrs. Georg
Pelican Portage - 09
No full textPhotograph - A group of people at Pelican Portage, Alberta. A note on the back reads: Frank Falconer, me Mrs. Cull?), Harvey Wagnet (purser) in back row; Mrs. Sanders in front of Harvey, then Mrs. Kehoe and Connie Sanders and Mr. Kehoe. Mrs. Falconer with Jean in fron
Klondike Days Celebration - 24
No full textPhotograph - Actors in costume on a stage, Athabasca, Alberta. Left to right: Frank Appleby, Nestor Richel, Mrs. Belinda (looking at camera) and Al Collins (policeman
The Dinner Party Group
No full textPhotograph - A group of men and women, Athabasca, Alberta. June 1916. Back row, left to right: Mr. Ross (bank clerk), J.I. Case (bank manager), Mr. Hayward, Mr. E.J. Gordean (furniture store), Dr. John Howard W. Moore, Thomas D.M. Latta (lawyer), Mr. Depew (CNR), J. Douglas Hamilton (bank manager). Second row, left to right: Mrs. Lavell, Mrs. Mary Mellor (nee Fraser), Mrs. Hayward, Mrs. Gordean, Jean M. Louisa (J.W.) Mills, Jean M. Latta, Evelyn Depew. front row, right to left: Frank Lavell (customs officer), Cecile Juneau, Isadore Gordean, Miss Sinclair, Jack Gordean, Edith Haight, Arthur Howard Llewellyn Mellor (RNWMP). A note on the back reads: "Too Much Mustard" and this references to a popular dance tune that Mrs. Mills played for 50 minutes straigh
The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies.
No full textPhDThe aim of this thesis is to explore, by examining her life and
works, how Sarah Fielding (1710-68) established her identity as an author.
The definition of her role involves her notions of the functions of
writing and reading.
Sarah Fielding attempts to invite readers to form a sense of ties
by tacit understanding of her messages. As she believes that a work
of literature is produced through collaboration between the writer and
the reader, it is an important task in her view to show her attentiveness
toward reading practice. In her consideration of reading, she has two
distinct, even opposite views of her audience: on the one hand a familiar
and limited circle of readers with shared moral and cultural values and
on the other potential readers among the unknown mass of people. The
dual targets direct her to devise various strategies. She tries to
appeal to those who can endorse and appreciate her moral values as well
as her learning. Her writings and letters testify that she is sensitive
to the demands of the literary market, trying to lead the taste of readers
by inventing new forms.
The thesis opens with an overview of Sarah Fielding's career,
followed by a consideration of her critical attention to the roles of
reading. I go on to examine the narrative structures and strategies
she deploys, with a particular emphasis on her use of the epistolary
method. The following chapter deals with her attention to the reading
of the moral message tangibly embodied in her educational writing. It
is followed by an analysis of the activity which earned her a reputation
as a learned woman. Various as the forms of her works are, they invariably
reflect her attempt to balance herself between the two demands of
inventiveness and familiarity
Food and eating in fiction since 1950 with particular reference to the writing of Angela Carter, Doris Lessing, Michele Roberts and Alice Thomas Ellis.
No full textPhDEating is a fundamental activity. What people eat, how and with whom, what
they feel about food, what they do or do not want to eat and why - even who
they eat - are of crucial significance in any reading of human behaviour.
In this thesis, I consider the diverse and complex uses of food and eating
in fiction since 1950, especially that written by women. I argue both that food
and eating carry much of the meaning of a novel or story and that the acts of
cooking, feeding and eating depicted are inseparable from issues of power and
control: individually, interpersonally, culturally, politically.
My discussion centres on the writing of Angela Carter, Doris Lessing,
Michele Roberts and Alice Thomas Ellis. Drawing on psychoanalytic theory,
sociology, anthropology, Foucault, Bakhtin and others, the thesis aims to
construct an interdisciplinary perspective which both resists reductive
interpretations and emphasises the centrality, complexity and diversity of food
and eating in literature in our culture.
I begin with an examination of the ambiguities of maternal feeding and
nurturing, moving on to explore the links between appetite, eating and sexuality.
I explore cannibalism and vampirism as manifestations of oppression, but also as
indicating insatiable emptiness and transgressive appetite. The body itself is
crucial, and my argument considers the paradox of not eating as
control/enslavement, also tracing self-starvation as a positive route towards
wholeness and connection. The last part of my argument focuses on social
eating, examining conventions, rituals and food itself in connection with power
relations, and finally considers how we might truly speak of food and eating in
the context of society as a whole
Charles B. Moore Family papers, 1832-1917
No full textLetter from Matilda Dodd to Mary and Charles Moore in which she updates them on her and her family's health; the weather; the crops; the new house Mrs. Ellis is building; taking rags to a weaver; hunting for chestnuts; Frank Albright studying to be a lawyer; and the children and their schools. Dinkie wrote part of the letter. She gave updates on the health of friends and family; the sowing of wheat; the weather and how that has affected her flowers; new shoes; and the chores Birdie does before she goes to school. She also comments on how Birdie is smart about work, but not about book learning
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Charles B. Moore Family papers, 1832-1917
No full textLetter from Matilda Dodd to Mary and Charles Moore in which she updates them on her and her family's health; the weather; the crops; the new house Mrs. Ellis is building; taking rags to a weaver; hunting for chestnuts; Frank Albright studying to be a lawyer; and the children and their schools. Dinkie wrote part of the letter. She gave updates on the health of friends and family; the sowing of wheat; the weather and how that has affected her flowers; new shoes; and the chores Birdie does before she goes to school. She also comments on how Birdie is smart about work, but not about book learning
History of Dialysis in the UK: c. 1950–1980
No full textDialysis, the first technological substitution for organ function, is significant not only for the numbers of patients who have benefited. It contributed to the emergence of the field of medical ethics and the development of the nurse specialist, and transformed the relationship between physicians and patients by allowing patients to control their treatment.
This seminar drew on participants’ recollections of dialysis from the early, practically experimental days after the Second World War, when resources for research were scant, until the 1980s when it had become an established treatment. Pioneers from the first UK dialysis units recalled the creation of the specialty of nephrology amid discouragement from renal physicians and the MRC, which felt that the artificial kidney was a gadget that would not last.
International and interdisciplinary collaborations, and interactions between with industry and clinics in developing and utilising the specialist technology were emphasized. Patients, carers, nurses, technicians and doctors reminisced about their experiences of home dialysis, its complications and impact on family life, as well as the physical effects of surviving on long-term dialysis before transplantation became routine.
The meeting was suggested and chaired by Dr John Turney and witnesses include Dr Rosemarie Baillod, Professor Christopher Blagg, Professor Stewart Cameron, Mr Eric Collins, Professor Robin Eady, Mrs Diana Garratt, Professor David Kerr, Professor Sir Netar Mallick, Dr Frank Marsh, Dr Jean Northover, Dr Chisholm Ogg, Dr Margaret Platts, Dr Stanley Rosen and Professor Stanley Shaldon. Two appendices contain reminiscences from Professor Kenneth Lowe and Sir Graham Bull
The television work of Alfred Hitchcock
No full textThe thesis uses close textual analysis to study and evaluate the television work of Alfred Hitchcock. The corpus consists of the twenty shows personally directed by Hitchcock, including his appearances before and after those shows. In response to most previous writing, which tends to compare the programmes with Hitchcock’s films (often unfairly) the thesis emphasises them as products of television. Programmes are evaluated on the basis of their perceived success as television- if they harness conditions related to television production and integrate them with narrative themes or to create meaning. Hitchcock is considered to be the major creative force in each programme.
Chapter One provides a variety of important contexts including a brief history of US television of the 1950s, key literature on Hitchcock and analyses of contemporaneous programmes not directed by Hitchcock. The textual analysis chapters (2-8) consider aesthetic or thematic programme aspects. Chapter Two studies the various roles played by Hitchcock’s appearances as series host. Chapter Three considers the impact of censorship on programmes frequently dealing with murder, violence and insanity. Chapter Four analyses Hitchcock’s implementation of varieties of voice-over narration, a common device in short dramatic forms. Chapter Five studies Hitchcock’s use of point-of-view shots, particularly in relation to their role in the delivery of the narrative twist. Chapter Six considers the key Hitchcock theme of detachment from the world. Chapter Seven looks at moments from the programmes which demonstrate how aesthetic is influenced by television production conditions.
Hitchcock created a number of television masterpieces. His achievements in television are in many ways comparable in quality and consistency to his theatrical films. Even when considered in the context of other 1950s US anthology dramas, the Hitchcock-directed programmes are superior on many levels. Elements of his film style were highly suited to television production. Many of his greatest achievements embrace and harness television production conditions in their presentation strategies to create an integration of style and meaning
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