16,490 research outputs found
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
Letter from Mary Garvey, Irish immigrant, to her mother, October 24, 1850
No full textMary Garvey, an Irish immigrant, was the servant of Rescarrick Moore Smith, a Hightstown businessman and New Jersey State Treasurer. This letter was dictated to and transcribed by Smith's daughter, Mary Elizabeth. In this letter to her mother in Ireland, Garvey asks after various family members and friends. She asks her mother many time to consider leaving the "poor state of Ireland" to emigrate to America. She also discusses her work duties, wages, and social life
The marriage of Philip of Habsburg and Mary Tudor and anti-Spanish sentiment in England : political economies and culture, 1553-1557.
No full textPhDThis thesis examines the early part of Mary I's reign, focusing on her marriage to
Philip of Habsburg and the marginalisation of their co-monarchy in Tudor historiography.
By looking at the diplomatic background and political opposition in England, I interrogate
the notion that anti-Spanish sentiment was a central cause of the Wyatt rebellion, arguing that
instead its aetiology lay in female sovereignty and the constitutional uncertainties produced
by it. Dynasticism tended to alienate power from familiar, local and territorial sources of
political authority. Infant mortality and the vicissitudes of the marriage market in this context
threatened discrete 'national' identities with an incipient imperialist internationalism. I analyse
in detail the marriage contract and 'Act declaring that the regal power of this realm is in the
Queen's Majesty', using them as evidence to show that anxieties about property rights were
not related to the repudiation of the Supremacy, repeal of Henrician legislation and return of
papal jurisdiction. The staging of the wedding harped on Philip's inferior status, inverting that
which the marriage ceremony rehearsed. The Castilian writing of England as a romance of
chivalry sublimated a sexual licence which repeated the fears played upon by exiled
polemicists that the kingdom had been transformed into the feminised subject of Spanish
male authority. Anti-Spanish propaganda did not reflect popular xenophobia. It was literate
and sophisticated, related to sectarian struggle and engaged with theories of justifiable
disobedience. Finally, I treat the joint royal London Entry and representations of Philip and
Mary welcoming his assumption of authority in relation to both England and his new quee
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)
Mary Shepard: the artist who brought Mary Poppins to life
No full textThe success of Disney’s 1964 movie Mary Poppins has often obscured the fact the popular series of books describing the experiences of the enigmatic nanny were in fact written by the Australian born author P.L. Travers.
Travers’ own sense of ownership of her creation in turn obscured the contribution made by the illustrator Mary Shepard. Despite a 54 year collaboration, Shepard is regularly ignored in discussions of the books: the 2013 movie Saving Mr Banks, which detailed the genesis of the film, did not even mention Shepard or the pivotal role she played in the books’ success.
'The Conversation' articles provides important insights into Mary Shepard's contribution to the Mary Poppins series of books
United Nations Documents and Publications: A Research Guide
No full textPrescriptive techniques and information for students and the scholarly community who need to conduct research into the vast amount of material, published and unpublished, of the UN.Published as Rutgers University GSLS occasional papers, no. 76-5
Clyde Pharr, The Theodosian Code and Novels and the Sirmondian Constitutions. A Translation with Commentary, Glossary and Bibliography. In Collaboration with Theresa Sherrer Davidson and Mary Brown Pharr
No full textDe Visscher Fernand. Clyde Pharr, The Theodosian Code and Novels and the Sirmondian Constitutions. A Translation with Commentary, Glossary and Bibliography. In Collaboration with Theresa Sherrer Davidson and Mary Brown Pharr. In: L'antiquité classique, Tome 21, fasc. 2, 1952. pp. 522-524
Mary Palmer
No full textMeet our Author of the week, Mary Palmer, as we talk about her latest book and getting published.https://jagworks.southalabama.edu/vid_presentations/1038/thumbnail.jp
L'épithèse vocalique en français contemporain : étude phonétique
No full textCarton Fernand. L'épithèse vocalique en français contemporain : étude phonétique. In: Faits de langues, n°13, Mars 1999. Oral-Ecrit : Formes et théories, sous la direction de Laurent Danon-Boileau et Mary-Annick Morel. pp. 35-45
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
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