51 research outputs found
(Un)settling Mary Weekes: Collecting Indigenous Beadwork and Confronting Settler Identity in Twentieth-Century Saskatchewan
No full textThis thesis examines the acquisition and exhibition history of a collection of Plains Indigenous beadwork donated to the Royal Saskatchewan Museum by the Regina-based author and collector Mary Weekes (1884-1980). Taking the rural cottage where she acquired her collection as a contact zone, this thesis considers how Weekes developed unusually intimate settler-Indigenous friendships that forced her to confront her complicity in colonial practices of dispossession and assimilation. It also interrogates how her dedication to Saskatchewan’s marginalized Indigenous peoples at times irreconcilably conflicted with her own marginalized status as a woman with unusual professional ambitions—the pursuit of which was aided by participation in the same colonial systems she critiqued. Consequentially, while collecting is typically understood as a settler’s attempt to invent a sense of belonging, I argue that the social circumstances of her collecting activities alternatively (un)settled Mary Weekes, as she both resisted and confirmed colonial hierarchies
Irish Women Writers: An Uncharted Tradition
No full textFrom the legendary poet Oisin to modernist masters like James Joyce, William Butler Yeats, and Samuel Beckett, Ireland’s literary tradition has made its mark on the Western canon. Despite its proud tradition, the student who searches the shelves for works on Irish women’s fiction is liable to feel much as Virginia Woolf did when she searched the British Museum for work on women by women. Critic Nuala O’Faolain, when confronted with this disparity, suggested that “modern Irish literature is dominated by men so brilliant in their misanthropy . . . [that] the self-respect of Irish women is radically and paradoxically checkmated by respect for an Irish national achievement.”
While Ann Owens Weekes does not argue with the first part of O’Faolain’s assertion, she does with the second. In Irish Women Writers: An Uncharted Tradition, she suggests that it is the critics rather than the writers who have allowed themselves to be checkmated. Beginning with Maria Edgeworth’s Castle Rackrent (1800) and ending with Jennifer Johnston’s The Railway Station (1980), she surveys the best of the Ireland’s female literature to show its artistic and historic significance and to demonstrate that it has its own themes and traditions related to, yet separate from, that of male Irish writers.
Weekes examines the work of writers like E.OE. Somerville and Martin Ross (pen names for cousins Edith Somerville and Violet Martin), Elizabeth Bowen, Kate O’Brien, Mary Lavin, and Molly Keane, among others. She teases out the themes that recur in these writers’ works, including the link between domestic and political violence and re-visioning of traditional stories, such as Julia O’Faolain’s use of the Cuchulain and Diarmuid and Grainne myths to reveal the negation of women’s autonomy. In doing so, she demonstrates that the literature of Anglo- and Gaelic-Irish women presents a unified tradition of subjects and techniques, a unity that might become an optimistic model not only for Irish literature but also for Irish people.
Ann Owens Weekes is a retired associate professor of humanities and English at the University of Arizona and author of Unveiling Treasures: Attic Guide to Published Works of Irish Women Literary Writers.https://uknowledge.uky.edu/upk_english_language_and_literature_ireland/1004/thumbnail.jp
Identity and consumption practices of Northamptonshire Caribbeans c.1955-1989
No full textThe objective of this thesis is to delineate and analyse Northamptonshire Caribbeans' consumption c.1955-1989. Author-collected and other oral histories alongside complementary primary and secondary references dovetail to unearth and analyse aspects of Post-War Caribbean consumption in a British provincial location that have been significantly unexplored previously. Central to the argument is the contention that identity is fundamentally significant in comprehending and analysing Northamptonshire Caribbeans' consumption. Various conceptualisations of identity facilitated development of consumer materialisations and aspirations. This thesis explores how multiple forms of identity as Caribbean, Black and British people were significant in shaping local Caribbeans' consumption. The succeeding pages address and analyse how these multiple identities influenced consumption and how provincial consumer behaviour was shaped by Caribbeans' relative co-ethnic isolation in Northamptonshire. Chapter 3 delineates and analyses consumer practices and practicalities of Northamptonshire Caribbeans. Integral within these consumer practices and practicalities are changes in consumption over time, intergenerational differences in consumption, as well as aspects of consumption that could be considered 'typical' and/or 'atypical' Northamptonshire Caribbean consumption; all of which are incorporated within this chapter. Chapter 4 connects identity and consumption through enhancing understanding of Northamptonshire Caribbeans' consumer networks. These networks interacted with the combination of identities local Caribbeans psychologically felt part of within various Caribbean, Black and British permutations. Furthermore, such identities varied more widely amongst the younger generation than their co-ethnic elders, a concept which is also addressed. Education and cultural currency are two novel strands through which to analyse connections between consumption and identity. The final two chapters deploy these concepts in an innovative manner creating and developing greater understanding of Northamptonshire Caribbeans' consumption. Chapter 5 expounds on the concept that education can be used as consumption whilst shaping future consumer behaviour, both ideas significantly under-explored previously. Chapter 6 introduces the theory of cultural currency, the idea that aspects of culture have finite, but changing, values and must be shared to have value similar to monetary currencies having exchange values for other monetary currencies. This chapter demonstrates how Northamptonshire Caribbeans shared aspects of Caribbean culture as cultural currency, fostering co-ethnic strength whilst gaining inter-ethnic respect for Caribbeans. Through comprehending Caribbean identity, correlations between empirical and social history, local consumption, as well as educational and cultural circumstances that stimulated and inspired Northamptonshire Caribbeans, this thesis distinctively illuminates how local Caribbeans' consumption interacted with various permutations of Afro-Caribbean, Black and/or British identities whilst representing idiosyncratic local nodes within these larger amalgamations
A study of effects of social group work clubs upon fifth and sixth grade members at David T. Howard and E.P. Johnson Schools, 1942
No full textConvergent evolution of animal intelligence
No full textThis is the author accepted manuscript.DEFINITION:
When two or more distantly related species evolve similar cognitive adaptations in response to comparable environmental challenges
[12a] Percy Shelley Monument, Christchurch, England [front]
No full textA photograph of the Percy Shelley Monument, a Neoclassical sculpture, in Christchurch, England. The statue was commissioned by Shelley’s surviving son, Percy Florence Shelley, and was carved by Henry Weekes in the early 1850’s. The sculpture depicts Shelley, who drowned off the coast of Italy in 1822, being held by his wife, Mary Wollstonecroft Shelley, author of Frankenstein.https://scholarworks.uni.edu/his_monuments_sp2022/1016/thumbnail.jp
Catharine Macaulay's metaphysics of morals : from metaphysics to philosophy of education
No full textThis thesis was scanned from the print manuscript for digital preservation and is copyright the author.
Researchers can access this thesis by asking their local university, institution or public library to
make a request on their behalf. Monash staff and postgraduate students can use the link in the References field
Moral Language Regulation
No full textIn "The Descent of Man", Charles Darwin identified a moral sense as the cornerstone of what it is to be human. He suggested that, to a social species, the evolution of an ethical brain was essential. This is because no interdependent tribe could succeed if immoral acts, like murder, were to become commonplace. Although the author goes on to claim differences in morality between humans and other animals are a matter of degrees, crucially he suggests only the former can regret actions. Moreover, only they can categorize them in terms of rightness or wrongness. Methods of policing have been observed in other species such as chimpanzees. Yet it seems only humans are able to construct formal moral frameworks, like legal systems, to regulate aspects of life that are not directly linked to reproductive fitness (e.g., obscenity, blasphemy, and copyright legislation). This exception to the general rule within nature suggests that moral systems are a recent adaptation. Another trait considered distinctly human is the capacity for language. Other animals harbor elaborate communication systems enabling them to alert peers to environmental features, and in some instances, there is even evidence of them attaching distinct sounds to particular targets. For example, vervet monkeys have been found to produce acoustically different alarm calls in the presence of different predators (Seafarth et al. 1980). Yet human language is thought to be remarkable because of its flexibility, i.e., the ability to combine symbols into understandable structures (Hauser et al. 2002). Humans appear to have been uniquely endowed with the recursive computational mechanisms required to create infinite combinations from a finite set of elements. It is this combinatorial property that has led to the emergence of these two capacities to be considered in parallel
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BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND).
No full textIn search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot
The death of William Golding: authorship and creativity in darkness visible and the paper men
No full textIn the seventies and eighties William Golding was deeply responsive to the critical, anti-authorial ethos that followed the publication of Roland Barthes's "La mort de I'auteur" (1968). In Darkness Visible (1979) and The Paper Men (1984) he investigates means by which to reaffirm authorial presence. Working through paradox, he performs the authorial death in these novels, and establishes language’s inadequacy as a means of conveying absolute meaning, authorial "vision," truth or revelation. Having done so he nonetheless gestures towards the divine, towards the possibility of a vatic communication. In this manner the novels work upon principles of contradiction and collapse. What remains is a discourse of hope, promise, desire, without means of substantiating such optimism. Thus Golding might be said to have practiced a form of negative theology, and to have anticipated in this respect some recent trends in literary theory
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