14,514 research outputs found
'Pilings of Thought Under Spoken': The Poetry of Susan Howe, 1974-1993.
No full textPhDThis thesis discusses the poetry published by contemporary American poet Susan
Howe over a period of almost two decades. The dissertation is chiefly concerned with
articulating the relationship between poetic form, history, and authority in this body
of' work. Howe's poetry dredges the past for the linguistic effects of patriarchy,
colonialism and war. My reading of the work is an exploration of the ways in which a
disjunctive poetics can address such historical trauma. The poems, rather than
attempting to reinstate voices lifted from what Howe has called "the dark side of
history", are a means of reflecting the resistance that the past offers to contemporary
investigation. It is the effacement, and not the recovery, of history's victims, that is
discernible in the contours of these highly opaque texts. Notions of authority are most
often addressed in the poetry through the figure of paternal absence, which has a
threefold function in the work, serving to represent social authority, an aporetic
conception of divinity and an autobiographical narrative. Alongside the antiauthoritarian
currents in the writing - critiques, for example, of the doctrine of
Manifest Destiny or of scapegoating versions of femininity - my thesis stresses Howe's
engagement with negative theology and with a strain of American Protestant
enthusiasm that has its roots in 17th century New England. The dissertation explores
the dissonance caused by the co-existence in the poetry of elements of political dissent
and religious mysticism. Finally, I consider Howe's engagement with literary history
and authors such as Shakespeare, Swift, Thoreau and Melville. The manner in which
Howe deploys the words of others in her work, I argue, allows for a mixture of textual
polyphony and a more conventional notion of authorial 'voice'
Nocturne by Mary Howe
No full textNocturne is an exquisite piano piece by an American composer May Howe (1882-1964), written in 1913. Here, Howe creatively weaved together the romantic piano style of Chopin, the impressionistic style of Debussy, and the modes used in Gregorian chants.
From Richmond, Virginia, Mary Howe was born during the Late Victorian era, an era when expectations for men and women musicians differed. While men chose the musical career path they wanted, women were discouraged, as music was to be only an ornament for them. Although keyboard proficiency was a “desirable, attractive, and useful” accomplishment for women, they were not expected to go beyond that. The purpose of women who taught piano was seen solely as providing “pin money.” On stage, a woman performing expressively with a contorted face was considered inappropriate. Major symphony orchestras did not admit women, and this policy of exclusion led talented instrumentalists and conductors to assemble their own all-female orchestras.
Although women could also write their own music, they were underestimated, and it was more acceptable for them to write short pieces and songs. Like other young women during her time, Howe was expected to eventually enter into marriage, maintain a proper home, raise a family, and fulfill community responsibilities. Despite having a family, Mary Howe found time to compose for different mediums including orchestra, ballet, vocal, piano, choral, chamber, and two-piano. Mary Howe once said to her son, “I wish that my name was Martin Howe, and that would eliminate the whole woman question.”
Despite all these biased views on women composers, Howe took every means to promote her works. She was her own publicity agent, and became involved with different women’s organizations that provided strong support for one another. The National League of American Pen Women and The Chamber Music Society of Washington gave Howe avenues to promote her works and interact with other composers. In these organizations, Howe gave solo recitals of her own works and occasionally collaborated with other composers by playing each other’s works. She was also involved in the establishment of the National Symphony Orchestra and even served on the board of what is now the Kennedy Center.
She died in 1964 at the age of 82. Her oeuvre encompasses over 200 compositions that include seven volumes of songs, seventeen choral works, thirteen orchestral works, eleven chamber works, and twelve piano works. As a composer, Howe needed to promote her works, and yet at the same time, she facilitated opportunities for other artists and institutions to flourish. Mary Howe was a real force in the musical life and culture of Washington, DC.
Below is a YouTube link to Nocturne by Mary Howe, which I performed recently at Forbes Center Recital Hall.
https://www.youtube.com/watch?v=zoLAsdDeCE
Colonel Joseph Howe, York County, South Carolina: His Descendants and His Brothers - Accession 715 no. 71
No full textColonel Joseph Howe by Olga Mary Rolater Whitley of Commerce, Texas is a compilation of historical information, documents and genealogy relating to Joseph Howe, his brothers and his descendants. The transcribed documents include Howe\u27s military records, governmental service records, land grants, deeds, census, cemetery records, last will and testament, inventory of Howe\u27s estate, and other information pertaining to Howe and his descendants. Please see the attached Table of Contents and Index.https://digitalcommons.winthrop.edu/manuscriptcollection_findingaids/2618/thumbnail.jp
Pioneer personal history, Mrs. Mary Williams Leatham
No full textTypescript of answers by Mary Evans (Williams) Leatham, for a questionnaire filled out for Utah Works Progress Administration\u27s "Pioneer personal history" survey. She was born in South Wales in 1851, and her family came to Utah in 1862, settling at Tooele and Wellsville. Typed by Maurice L. Howe of Ogden in 193
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
John Ruskin Howe Scrapbook
No full textJohn Ruskin Howe (1895-1980) was born to David and Laura Howe in North Manchester, Indiana. In the 1910s, he enlisted for World War I in Nov 1918 and was honorably discharged in July 1919 at the rank of Sergeant. He was a graduate of Otterbein University in 1925, and then from Yale in both 1924 and 1927. He married Mary Elizabeth Brewbaker, and in 1939 became the fourteenth President of Otterbein University until 1945. After Otterbein, he spent several years travelling and ministering in various locations. He had two sons, Charles and John.
His scrapbook includes labelled images with the subjects of: buildings, landscapes, and portraits from various locations around Ohio, Pennsylvania, and Massachusetts; scenes from college life; sporting events; the Varsity “O” Initiations; and notable people include William Eugene “Pussyfoot” Johnson and Roy H. Pedeu, pole vaulter all time athlete.https://digitalcommons.otterbein.edu/john_howe/1000/thumbnail.jp
Mary Camilla Howe Sims, Saving the legacy: an oral history of Utah\u27s World War II veterans, ACCN 2070, American West Center, University of Utah
No full textTranscript (26 pages) of an interview by Becky B. Lloyd with Mary Camilla Howe Sims on March 22, 2004. This is from tape number 650 in the "Saving the Legacy Oral History ProjectSims (b. 1921) was born in Darlington, Wisconsin, and received her nursing education at St. Mary\u27s Hospital in Madison, Wisconsin. She joined the Army Nurse Corps in October 1943 and boarded the SS Lurline for New Guinea. She served at the 54th General Hospital for the duration of the war with the exception of a few months spent in the Philippines. She describes life on the island, her duties and activities, her post-war marriage, and talks about her children. 26 pages
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)
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 Choral Music of Mary Howe
No full textMary Howe (1882–1964) was a prolific composer whose works were once widely performed but have since largely been forgotten. This research seeks to illuminate Howe’s overlooked contributions to choral music and aims to highlight her transitional compositional style, challenging the perception that her music followed a linear stylistic evolution and instead illustrating that her works across all compositional periods contain a rich blend of Romantic and early-twentieth-century elements. Drawing from primary sources such as manuscripts, letters, and interviews, as well as secondary sources including dissertations and articles, this research provides a comprehensive biographical account of Mary Howe, exploring her musical education, compositional output, reception, and the impact of gender in her career. The focus then shifts to an analysis of Howe’s choral music, highlighting key compositional characteristics that define her transitional style.
The analysis of Howe’s choral works reveals the consistent use of both Romantic and early-twentieth-century elements in works throughout her entire compositional timeline, particularly in the domains of melody, texture, and harmony. When these elements are analyzed collectively, it becomes apparent that Howe employs this blend of compositional techniques to establish meaningful relationships between the music and the text in her choral compositions
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