847 research outputs found
Correspondence to Mary Ann Smith From Whitney M. Young Jr., March 21, 1960
No full textCorrespondence from Whitney M. Young Jr., Dean at the Atlanta University School of Social Work, to Mary Ann Smith discussing an upcoming documentary by Edward R. Murrow of the National Broadcasting Company. The documentary is on Atlanta, and the show's director is requesting to meet Mary Ann Smith at the dean's office. 2 pages
Mary Ann Cox Index: Royal Society Collection
No full textBurton-Wood: in a series of letters, by a lady (Mrs. - Cox nee Wight), London (printed for the author by H.D.Steel) 1783, vol.11
(octovo vol, leather bound)
Enclosed: note The book Burtonwood was written by the mother of
Mary Ann Cox who ran the first coach from Hobart to Launceston.
It was passed on to me by her grand-daughter Miss Dora Clerk of Malahide.
I also am a grand-daughter of Mrs. Cox. Joan Harvey
(John Edward Cox m. Mary Ann Halls
V.D.L. 1821 J.E.C. started Hobart-Launceston coach) - (note - Mrs.
Harvey's identification of the author of the volume was based on family
tradition although not confirmed - no details are known of John Edward
Cox's parents)
Poems by C(harles) Best c 1847 - 1849
Includes poems to Miss Wilmot (Georgiana Wilmot, - Mrs. C. Butler)
and Mary Wilmot.
Enclosed: note by Joan Harvey
Article on Mrs. Mary Ann Cox 1950.
A pioneer career woman (on coach service between Hobart - Launceston)
from "Woman's Day" Aug. 21, 1950 (news clipping)
R.S. 14
Women's life writing 1760-1830 : spiritual selves, sexual characters, and revolutionary subjects
No full textPhDThis thesis uses print and manuscript sources to analyse and interpret women's life
writing at the end of the eighteenth and beginning of the nineteenth centuries. I
explore printed works by Catharine Phillips, Mary Dudley, Priscilla Hannah Gurney,
Ann Freeman, Elizabeth Steele, Mary Robinson, Helen Maria Williams, Mary
Wollstonecraft, Grace Dalrymple Elliott, and Charlotte West and discuss the
manuscripts of Mary Fletcher, Mary Tooth, Sarah Ryan, and Elizabeth Fox. Of these
sources, five have never been analysed in the critical literature and six have received
little attention. Considered as a group, this large corpus of texts offers new insights
into the personal and political implications of different models of female selfhood and
social being.
In chapter one, I compare the religious identities presented in the spiritual
autobiographies of Quakers and Methodists. For these women, religious identification
provides a powerful sense of social belonging and enables public participation.
However, it may also lead to a loss of self in the demand for religious conformity and
self-abnegation. In chapter two, I consider the life writing of late eighteenth-century
courtesans. These women adapt available models of femininity and female authorship
in order to establish themselves as socially connected subjects. However, their
narratives also reveal that dependence on the sexual and literary marketplace puts
female selfhood under pressure. In chapter three, I explore the eyewitness accounts of
British women in the French Revolution. I argue that, for these writers, connecting
personal identity to political history is an enabling source of self-definition but it also
exposes them to the risks of self-fragmentation.
In my focus on the social function of women's life writing, I present an alternative to
the traditional alignment of the eighteenth-century autobiographical subject with the
autonomous self of individualism. These narratives allow us to reconsider the
productive and problematic dialectic between personal expression and representative
selfhood, self-authorship and collective narratives, and individualism and social
being. They suggest that women's life writing has the potential to be both the self-expression
of a unique heroine and the self-inscription of a politicised subject
A more comprehensive and commanding delineation: Mary Shelley's narrative strategy in Frankenstein
No full textThis thesis argues that the first edition of Frankenstein challenges conventional reading by employing what Simpson in Irony and Authority in Romantic Poetry calls Romantic irony, where the absence of a stable 'metacomment' precludes an authoritative reading. The novel hints at such readings but prevents them. The insights offered by Tropp's Mary Shelley's Monster, Baldick's In Frankenstein's Shadow, Poovey's The Proper Lady and the woman writer and Swingle's, 'Frankenstein's Monster and its Relatives: Problems of Knowledge in English Romanticism' are considered, but none recognises the full implications of the instability deriving from multiple first- person narratives. Clemit's The Godwinian Navel acknowledges the novel's indeterminacy, but reads a specific ideological purpose in it. Paradise Last provides a language to describe the relationship between the monster and Frankenstein, but proves too unstable to fix identity or establish moral value. Similarly, Necessity ultimately fails to provide a stable explanation in terms of cause and effect. The status of nature shifts between foreground and background, never allowing final definition. These uncertainties destabilise knowledge which is compromised by its provisional nature: no authoritative reading is possible, yet the novel has narrative coherence. The reader is encouraged to try to develop a reading the structure prevents. The radical nature of the first edition is highlighted by comparison with the 1831 edition, which removes much of the ambivalence and gives the novel a clearer morality. The novel challenges conventional methods of deriving authority by disturbing the reader's orthodox orientation in the world around him' (Simpson) in order to afford 'a point of view to the imagination for the delineation of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield' (Mary Shelley)
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
"In this moment of alarm and peril": Female Education, Religion and Politics In the Late Eighteenth Century, With special reference to Catharine Macaulay and Hannah More
No full textPhDCatharine Macaulay and Hannah More are conventionally represented as
ideological opposites. Through an analysis which centres on their writings, this
thesis critically examines that representation, and more broadly explores
contemporary perceptions of the roles of women of the middling sort in the late
eighteenth century. It argues that revolution, particularly the French Revolution,
created a climate wherein the duties of women became the subject of increasing
debate. The discussion challenges and builds upon recent work on women's
writing and history, by examining how and why the role of women changed at this
time. This work is concerned with contemporary representations of women, and
concentrates on analysis of primary texts and archival material over a wide range
of genres, including educational treatises, plays, popular tracts, political pamphlets,
historical writing and newspapers - the latter proving a major resource.
Following a critical introduction, the thesis falls into four chapters. Chapter one
discusses the reputation, critical reception and public fame of Macaulay and More,
thereby providing insights into contemporary sexual and social politics. Women
were considered arbiters of morals and manners - believed to play a vital role in
ensuring social stability - and the second chapter examines how the threat of
revolution led to increasing anxiety and debate about the nature of female
education. The third and fourth chapters discuss religion and politics respectively,
and argue that beliefs about the interdependency of Church and State, together with
the feminization of religion, legitimized women's involvement in politics and
enlarged their sphere of influence.
3
The conclusion argues that the political and religious climate provided
opportunities for women to reassess and redefine their roles; while often remaining
within parameters defined by commonly held perceptions of femininity, they
politicized the domestic, extended female agency, and elevated the status of
women
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
"different sentiments & different connections supports them" : sensibility, community, and diversity in British women's Romantic-period poetry
No full textWith diversity
as an overarching theme, women writers' responses to the
cultural
feminisation and developing social climate of
late eighteenth- and early
nineteenth-century Britain
are explored through analyses of their poems on
sensibility, community, and abolition.
To determine a
focus for
expressive criticism
and recover Romantic women writers
from the social and historical
contexts that have
previously succeeded in highlighting
male literary
achievements, women's poetry is
considered a distinct
contribution to Romanticism. This dissertation analyses poems
written
by Joanna Baillie, Anna Barbauld, Harriet
and Maria Falconar, Frances
Greensted, Frances Greville, Elizabeth Hands, Eliza Knipe, Isabella Lickbarrow,
Hannah More, Amelia Opie, Priscilla Pointon, Mary Robinson, Mary Scott, Helen
Maria Williams, Ann Yearsley, and Mary Julia Young.
Although literature brought together the public and private spheres, sensibility
mediated
between the two and served as a social currency
for
women.
The
various
applications of sensibility are apparent
in its dual-gendered nature,
its link
with
reason, and the significance of economic
language. A
new genre of the "Address to
Sensibility" was prominent
in the period and
followed
a
loose formula
which
defined
sensibility,
traced its
personal
impact,
and
determined
a
link between the Romantic
culture and
heightened
emotion.
Through
explorations of poems on
intellectual
coteries, patronage, creative
influence, Reviews, and
literary
critique,
it is
evident that women poets' affiliations
with the literary
community were marked
by
a
discomfort based on their literary
associations,
the anxiety about their public reception, and the social
differences in the
literary
community.
However, the development
of social,
intellectual, literary,
and
critical communities alleviated this discomfort
and contributed
to women's
participation
in literary
culture.
In
addition, women poets expressed sensibility and used images of community
in diverse ways in their works against slavery and the trade.
Abolitionist
poetry acts
as a case study of the particular motifs,
highlighted throughout, such as the
amalgamation of masculine and
feminine, the political and economic applications of
sensibility, the association of
feeling
with reason and community, and the assertion of
individuality
amidst commonality.
Women
poets' petitions
to alleviate the sufferings
of slaves paralleled arguments
for the improvement
of
British
society to benefit
women.
The poems discussed signify the complexity of the issues of sensibility,
community, and diversity
Poetics of the same: a philosophical poetic recourse into sameness
No full textPhDThis study endeavours to investigate the philosophical and poetological
dimensions, the philological origins, and significant philosophical-literary
representations of the Same. It also assesses sameness as a philosophical and
poetological modus operandi; that is to say, it analyzes the ways in which the
Same operates in different types of discourses both as an object of investigation
and as an agent of (poetic) thought. The concept of the Same or the operation of
sameness as the philosophical question par excellence will be considered in the
development of Continental philosophy and philosophical poetics from classical
antiquity to Postmodernism, and its transposition into poetry.
The elaboration of the issue of sameness encompasses any philosophical
inquiry which seeks to establish the essence of Being and make it susceptible to a
general, unifying principle: as a search for an underlying element; for a
metaphysical unity or universal, preceding division or difference and amounting
to the harmony in the Universe; or for a transcendental absolute totality.
Postulations of the pure conceptual difference are likewise examined as part of the
elaboration of sameness, and will be viewed as indispensable for revealing the
genuine plenitude of sameness.
Part One traces the inception of sameness as a concept of pure identity,
amounting to the harmony of the Universe by virtue of the operations of
belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored
in the relationships between the One and the many, between the Whole and its
parts, between the Original and the copy. Part Two inquires into the limits of
postulating sameness in terms of pure identity and points to two possible solutions
to this problem: a philosophical-aesthetic digression from sameness (Kant and
related aesthetic theories of the seventeenth and eighteenth centuries) and the
return to sameness as an absolute totality in Part Three (Schelling and Hegel).
Part Four investigates the re-postulation of sameness as pure Difference
(Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in
terms of the other. Part Five analyzes the transposition of sameness from
3
philosophy into the poetic language of repetition, using Rilke’s Sonnets to
Orpheus as its prime poetic example.
It will be argued that the philosophical displacement of the Same from a
concept of identity into that of difference does not amount to an abandonment of
its plenitude, but rather points to the need for a precarious balance between
sameness and difference, the simultaneous quest for unity and the absolute
singularity of the other. This balance, it will be argued, must be sought for in
every genuine creation
Patronage and Professionalism in the writings of Hannah More, Charlotte Smith and Ann Yearsley, 1770-1806.
No full textThis thesis examines the changes which were occurring in the literary marketplace at the end of the eighteenth century. The place of the traditional aristocratic patrons was gradually being taken by publishers and book sellers, who were increasingly dealing with writers direct. This move away from patronage towards a new form of professionalism took place during two decades of intense political upheaval and questioning of national identity, and at a point where women writers were being
seen increasingly as a natural part of literary culture.
The argument is focused on three case studies of women who came to prominence in the 1780s, and explores their different experiences of life as professional
writers, patrons and protegees. Their work is placed within the context of two significant political and social events; the beginnings of the movement to abolish the
slave trade in 1788, and the French Revolution. In particular, the thesis enagages with the Revolution's descent into the Terror in the 1790s, and the response of British writers to this most brutal phase.
Also considered are the various ways in which a literary work could be brought into print at the end of the eighteenth century, and how the three central women were
able to move from one mode of publishing to another. This thesis also sets out to offer a fresh perspective on the careers of these women, and in particular to recover the
reputation of Ann Yearsley as a writer of note in the 1790s.
It is proposed that a broader view needs to be taken of the factors influencing literary production in the 1780s and 90s than is currently the case, and the argument is
concluded with a consideration of the relationship between patronage and professionalism at the end of the eighteenth century, and an assessment of the significance of patronage in an increasingly professional literary marketplace
- …
