16,259 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
A more comprehensive and commanding delineation: Mary Shelley's narrative strategy in Frankenstein
Get PDFThis 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)
The Opposite of Snake: Surrealism and the Art of Jimmie Durham
Get PDFabstract: Twenty years ago, Cherokee artist Jimmie Durham described idea of “opposites” from a child’s point of view. For him, the normative take on opposites is laughably irrelevant to his childhood self, who conceived of “birds as the opposite of snakes.” His witty anecdote moves the terms of understanding away from conventional opposition, by stepping outside mainstream assumptions. Without opposites, for example, iconic images may be more fluid and simultaneous, dream-like and less fixed to singular pre-determined interpretation. So, too, the prose poems of Lautréamont and the visual and literary works of the Surrealist avant –garde employed startling juxtapositions that defied rational understanding and challenged conventional assumptions. “Outsider” status was preferable to “insider” here thanks to the power of idiosyncratic symbols and the appeal to a richer hermeneutic. Durham’s “search for virginity” in terms that reject the notion that authenticity and dishonesty are polar oppositions reprises the artistic practice of many Surrealists
Mary Shepard: the artist who brought Mary Poppins to life
Get PDFThe 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
Confluence:Tradition in Contemporary Art, George Segal Gallery, Montclair State University, New Jersey, USA
No full textGeorge Segal Gallery, Montclair State University, New Jersey, USAExhibition dates: 10 October – 7 December 2019These international group exhibitions, related international conferences and publications, across three countries, has global impact. Confluence: Tradition in Contemporary Art is a group exhibition (10 Oct - 9 Dec.’19) of artists and designers from both DJCAD and Sichuan Fine Art Institute; 30 exhibitors at Montclair State University, coinciding with their ‘Leaders of the World’ conference. A second iteration documents 15 MSU artists joining the expanded exhibition, to be exhibited at SFAI (17 April-1 June ‘20) but postponed temporarily. Curated by Xu Sheng, organised by Mary Modeen and Kevin Li, the publication Modeen edited documents this work, in Chinese and English. Independent curator Xu Sheng’s selection of these artists and designers from 3 institutions began with a call for the work of creative practitioners/researchers who draw inspiration from tradition in its broadest sense. He sought work that: ‘no longer sees “tradition” as an abstract entity, but focuses on the concrete forms that inspire the contemporary artist or designer, …concentrating on works based on real experiences and thoughts on the contemporary worlds.’ Tradition, then, is defined in broad terms, culturally, materially, emergent; it is reflected in the ‘confluence’ of many differing material responses and cultural customs.Through origins, ancestry, immigration and investigative journeys these 46 selected artists (31 in the first New Jersey exhibition; 46 in the second Chongqing iteration), draw on various traditions around the world, reworking various traditions in reimagined and reinvigorated contemporary art forms. Teresa Braun, for example, was raised in the Canadian Mennonite tradition; Riad Miah’s work is based on research adapting an East Indian tradition; Mari Ogihara applies research in her work based on Japanese tradition; and Nadia Estela of the Dominican Republic, has a creative practice that reveals memories of shared immigrants’ experience.Several artists combine biological and spiritual or metaphysical concerns of different religious traditions. Chinese Buddhist beliefs infuse work by Karl Nussbaum; Indian Rangoli ritual inspired Riad Miah. Moved by Shishi-odoshi fountain tradition, Christopher Kaczmarek explores shared energy around us through a sound device composed of machine parts and broken eggs.Calum Colvin’s work builds on the Scottish Ossian myth, a blind seer and Scottish Gaelic bard who was reputedly the narrator and author of a cycle of epic poems published by the Scottish poet, James Macpherson in the 1760s. Colvin has worked with this imagery since 2002, exploring ideas around the construction of history and national identity, questioning the role of ‘truth’. He combines traditional photographic techniques with digital creating artworks that further blur distinctions between painting and photography. Graham Fagen’s digital film The Slave’s Lament was also featured in the Venice Biennale (2015), and arises from Robert Burns’ work of the same name (1792), that communicated the transatlantic slave trade. His newly reworked song brings social, political and human tragedies of today into focus, connecting Scottish and Caribbean history. Honorary Professor Alistair Maclennan’s digital film documents of one his more than 600 art performances around the world in evidence of the striking legacy of European live art avant-garde tradition.Professor Pang Makun’s portraits are renowned across China, and he stands as one of the country’s most famous contemporary figurative painters; his work meticulously references the work of Old Masters, but is absolutely contemporary in his creative practice with elements of humour and sly wit. Zhang Xiang’s woven wicker ‘chair’ and Andrew Milligan’s chair-like sculpture reflect traditions of situated design, but both equally resist a seating function as objects. And Wei Jia’s lithographs are compelling images that emerge from shadows, resonating with the mystery and power of Goya and Rembrandt prints.These works speak across nations, beyond verbal language, and signify complexly
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
- …
