10,489 research outputs found
Anne as Pagan, Anne as Queer
No full text‘Anne as Pagan, Anne as Queer’ is a critical and creative answer to the question: How do we construct Anne Shirley, and what does she mean to us? This creative research submission is a work of fanfiction, specifically a mash up based on Anne of the Island, L.M.M. Montgomery’s sequel to Anne of Green Gables. In this short work of fiction (under 4 thousand words) Anne is revealed as a changeling, one of the Faerie Folk, and also a being not strictly male or female; sometimes neither, sometimes both. The mash up is based on the last two chapters of Anne of the Island, the scenes in which Gilbert Blythe is seriously ill and Anne realises she loves him. This realisation causes Anne, in this version, to reveal to Gilbert that she is both non-human and not a girl, and to use Faerie magic to save Gilbert’s life. Anne’s revelation causes Gilbert a great relief, as he has been keeping a secret also - that he too is queer. The piece has an accompanying research statement and reflection, that reflects on the ways the contributor/author interprets Anne, as a being troubled by gender, and not strictly gender conforming. The much-loved scene from Anne of Green Gables in which Anne realises she is not wanted by the Cuthberts because she is not a boy is inserted into the mash up (as a memory) as this scene is the principal cause for the contributor’s identification with Anne as a gender non-conforming figure who resists gender expectations. Overall, this creative and critical work and reflection queers both Anne as a character and the Anne of the Island novel.Book chapter - work of fiction with a critical reflective essa
Interview with Anne Russell
No full textInterview with Anne Russell, playwright and author of several books on local history, including Wilmington: A Pictoral History
A sojourn in Paris 1824-25: sex and sociability in the manuscript writings of Anne Lister (1791-1840)
No full textThis thesis examines the day to day practices that constituted Anne Lister's (1791-1840) sexuality and sociability within the range of her writings, as well as her society. Anne's writings were a detailed account, spanning her lifetime, of her own love and relationships with the 'fairer sex' (Whitbread 1988, 145). Anne's sociality, seen in her correspondence and plain handwritten journal entries, has been explored by Muriel Green in Miss Lister of Shibden Hall and Jill Liddington in Female Fortune and Nature's Domain (Green 1992; Liddington 1998; 2003). As a gentlewoman of adequate means, Anne has garnered some attention from women's historians interested in her agency within an early nineteenth century social and historical context. Anne's sexual identity has been extensively analysed over the past nearly twenty years by lesbian feminists, queer theorists, women's historians and historians of sexuality concerned with the history and development of modern Western female homosexuality and gender. The source for theorising Anne's sexuality has been the edited selections of the crypted journal entries, published by Helena Whitbread in I Know My Own Heart and No Priest but Love (Whitbread 1988; 1992). However, many analyses deal either with the theorisation of Anne's sexuality or her sociality; the theoretical difficulty with reconciling these categories has troubled the analysis of her complex subjectivity. Drawing upon the archival materials, I have used an interdisciplinary feminist approach to analyse the sexual and social processes of Anne's everyday interactions in her writings. Taking the seven month period of the sojourn to Paris in 1824-25, I have focused upon Anne's textual practices within her journal volume and letters during her residence in Paris, her social practices with the other guests at the guesthouse 24 Place Vendome and her sexual practices with her lover, the widow Mrs. Maria Barlow. The journal volumes and correspondence are a valuable historical record of one gentlewoman's engagement with early nineteenth century British culture
Editor's inscription in Valentine Duval : an autobiography of the last century
No full textEditor Anne Manning's gift inscription to author William Stebbing (1832–1926), "To William Stebbing from his affectionate friend the editor Nov. 2, 1860".Manning, Anne, 1807-1879
Dr. Anne Koch
No full textDr. Anne Koch, author of the book It Never Goes Away: Gender Transition at a Mature Age, meets with students Kolby Nelson after a speech at PCOM.https://digitalcommons.pcom.edu/pa_2020_photos/1065/thumbnail.jp
Nanoemulsion with wine lees: a green approach
No full textAbstract Bioactive substances can be found in wine lees, a waste from the winemaking industry. This work developed two formulations, a nanoemulsion with coconut oil (NE-OC) and a nanoemulsion with coconut oil and 0.5% of wine lees extract (NE-OC-Ext), to investigate their effect on untreated, bleached, and bleached-colored hair. The oil-in-water (O/W) nanoemulsions were prepared with coconut oil, TweenTM 80, SpanTM 80, AristoflexTM AVC, Conserve NovaMit MFTM, wine lees extract, and deionized water. The hydration measurements were carried out using a Corneometer® CM 825 with the capacitance method. Scanning electron microscopy (SEM) was used to characterize the effect of formulations on hair fibers. Differential Thermal Analysis (DTA) was to assess the thermal stability and compatibility of wine lees and coconut oil in formulations. Compared to NE-OC, NE-OC-Ext showed a greater hydration effect on bleached-colored hair. DTA showed that NE-OC-Ext presented a smaller number of exothermic degradation events than those of NE-OC, suggesting good interaction and compatibility of the wine lees extract in this formulation. This study highlights the value of wine lees, a residue from the winemaking process, and its possibility of use as raw material for the cosmetic hair industry since it shows a greater moisturizing potential in colored hair
Dr. Anne Koch and Kolby Nelson
No full textDr. Anne Koch, author of the book It Never Goes Away: Gender Transition at a Mature Age, meets with student Kolby Nelson after a speech at PCOM.https://digitalcommons.pcom.edu/pa_2020_photos/1064/thumbnail.jp
Prairie Gate Literary Festival Welcomes Author Anne Panning
No full textMorris will welcome author Anne Panning on Friday, November 2, at 7:30 p.m. in the McGinnis Room of Briggs Library. Panning will read from her new novel, Butter
\u27n "Allegoriese" lesing van Lady Anne
No full textIn this article an "allegorical" reading of Antjie Krog\u27s Lady Anne is attempted. The allegorical point-for-point similarities between Antjie and Anne include thematic (feminism and revolution), structural (both characters have concluding poems) and narratological (a "story" of concern about injustice supplanted by despair about art\u27s function) resemblances. This allegorical process could be explained as the succession of abstract ideas; the portrayal of these ideas in a text; the retrieval of these ideas by the reader and then the potential application of these ideas in the life of the reader. This model of interpretation as allegorical provides an in\u27adequate explanation of especially the metafictional elements of Lady Anne and therefore postmodernist critics such as De Man (allegory as the incomprehensible nature of the text); Jameson (the inevitable use of known explanatory models in the interpretation of texts) and Derrida (the term "differance" enables a synthesis of the viewpoints of De Man and Jameson) are used to develop a reading strategy in which a comparison may be drawn between Antjie\u27s "reading" of Anne and my reading of Lady Anne in terms of the three nonconsecutive stages of context, interpretation and patterning .
Opsomming In hierdie artikel word \u27n "allegoriese" lesing van Antjie Krog se Lady Anne onderneem. Die allegoriese punt-vir-punt parallelle tussen Anne en Antjie sluit in tematiese (feminisme en revolusie), strukturele (albei personasies het eindgedigte) en narratologiese (\u27n "storie" van sensitiwiteit vir onderdrukking, opgevolg deur wanhoop oor die rol van kuns) ooreenkomste. Hierdie proses van allegorisering kan verklaar word as die opeenvolging van abstrakte idees van die skrywer; die uitbeelding daarvan in die kunsteks; die herwinning van die idees deur die leser en die uiteindelike moontlike toepassing van die idees in die lewe van die leser. Hierdie model van interpretasie as "allegories" word as onvoldoende beskou vir die verklaring van die metafiksionele elemente in Lady Anne en daarom word postmoderne kritici soos De Man (allegorie as die oninterpreteerbaarheid van die teks), Jameson (allegorie as die onontkombaarheid van bekende verklarende modelle by die lees van \u27n teks) en Derrida (die begrip "differance" bied \u27n sintese van die posisies van De Man en Jameson) gebruik om \u27n leesstrategie te ontwikkel waarbinne \u27n vergelyking tussen Antjie se "lees" van Anne en my lees van Lady Anne in terme van drie nie-chronologiese fases, naamlik konteks, interpretasie en patroonvorming, kan plaasvind
'The cracked mirror': Anne Sexton's poetics of self-representation
No full textThis thesis re-evaluates the work of the poet Anne Sexton (1928-1974), concentrating, in particular, on the indeterminacies, contradictions and aporia which it finds to be characteristic of her ostensibly frank and self-revelatory writing. The study is based on a close textual
analysis of Sexton's writing, is informed by oststructuralist theories, and is sustained by an
examination and discussion of archive collections of her previously unpublished papers. In seeking an understanding of Sexton's poetics, the thesis identifies and interrogates the strategies of denial and obfuscation apparent in her own explication of her work - principally, by scrutiny of the unpublished, and previously unresearched, drafts of a series of lectures
which she delivered in 1972. Chapters One and Two consider the origins of `confessional' or - Sexton's preferred term - 'personal' poetry and reassess her place within contemporary poetry. They suggest that
Sexton's writing is engaged in a process of negotiation and contestation, both with the boundaries and expectations of confessionalism, and with the strictures of T. S. Eliot's theory of `impersonality'. In support of these arguments, Chapter Two offer a reading of Sexton's
little-known poem, `Hurry Up Please It's Time', alongside its intertext, Eliot's The Waste Land. Chapter Three reassesses received views of the supposedly beneficial interrelationship between confessional speaker and reader. It examines Sexton's appropriation of dramatic
masks and personae and her use of metaphors of striptease and prostitution, and suggests that these are employed simultaneously to appease and to repel an intrusive audience. Similarly, Chapters Four and Five trace Sexton's problematisation of two previously-accepted tenets of confessional poetry: its status as autobiography and its truthfulness, drawing attention to the techniques employed in order to give the impression of both. Chapter Six considers Sexton's
problematic engagement with a language which is not malleable, transparent, and referential but, rather, is experienced as uncooperative and occlusive. Finally, the thesis recuperates Sexton from the common charge of narcissism, arguing that it is the writing, rather than the poet, which is self-reflexive and self-conscious. In this respect, it concludes that her work - perhaps unexpectedly - anticipates many of the tendencies of postmodernist writing
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