17,696 research outputs found
Mrs. Abraham Lincoln
No full textMary Lincoln in her inaugural gown.The model for the engraving was most likely a picture taken by Mathew Brady of Mrs. Lincoln in her inaugural gown (also in this collection, Item ID P0406_50). Style is mostly a line technique, but stippling was utilized in the facial area
Mary Lincoln
No full textMary Lincoln in a gown wearing flowers in her hair and on her dress."Mary spent lavishly on her clothes and accessories, yet seldom sat for photographs. 'My hands are always made in them, very large,' she complained, 'and I look too stern.'
Engraved Portrait of Mary Todd Lincoln
No full textPhotograph of an engraving. Image features a seated portrait of Mary Todd Lincoln that was originally a photograph taken by Mathew Brady in January 1862. In the image, Mary Todd Lincoln is seated and holds a bouquet of flowers in her proper right hand. [Ref: ML, O-16.]https://scholarsjunction.msstate.edu/fvw-cdv/1245/thumbnail.jp
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
Vignette Portrait of Mary Todd Lincoln
No full textReproduction of a bust portrait of Mary Todd Lincoln. From original photograph taken by Mathew Brady, probably in 1861. [Ref: ML, O-9.]https://scholarsjunction.msstate.edu/fvw-cdv/1241/thumbnail.jp
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
Mr. Lincoln and Wife
No full textComposite image of Abraham and Mary Lincoln.The picture of Mary was taken about 1863 of her in her mourning attire. The picture of Abraham was taken by Mathew Brady in 1864
Mary & Joseph Council 9 of the Knights of Father Mathew of Missouri badge (obverse)
No full textThe top medal is stamped with "No. 9" and an image of Father Mathew. The bottom medal is in the shape of a cross and is stamped with "KFM of MO."
Printed on the ribbon: Mary & Joseph Council 9.
Theobald Mathew was a Capuchin friar who founded the Knights of Father Mathew, a Catholic temperance society, in Cork, Ireland in 1838. He travelled throughout the United States from 1849-1851 promoting complete abstinence. The first Knights of Father Mathew organization in the United States was established in St. Louis, Missouri on April 26, 1872 (Source: Wikipedia)
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)
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