286 research outputs found
The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies.
No full textPhDThe aim of this thesis is to explore, by examining her life and
works, how Sarah Fielding (1710-68) established her identity as an author.
The definition of her role involves her notions of the functions of
writing and reading.
Sarah Fielding attempts to invite readers to form a sense of ties
by tacit understanding of her messages. As she believes that a work
of literature is produced through collaboration between the writer and
the reader, it is an important task in her view to show her attentiveness
toward reading practice. In her consideration of reading, she has two
distinct, even opposite views of her audience: on the one hand a familiar
and limited circle of readers with shared moral and cultural values and
on the other potential readers among the unknown mass of people. The
dual targets direct her to devise various strategies. She tries to
appeal to those who can endorse and appreciate her moral values as well
as her learning. Her writings and letters testify that she is sensitive
to the demands of the literary market, trying to lead the taste of readers
by inventing new forms.
The thesis opens with an overview of Sarah Fielding's career,
followed by a consideration of her critical attention to the roles of
reading. I go on to examine the narrative structures and strategies
she deploys, with a particular emphasis on her use of the epistolary
method. The following chapter deals with her attention to the reading
of the moral message tangibly embodied in her educational writing. It
is followed by an analysis of the activity which earned her a reputation
as a learned woman. Various as the forms of her works are, they invariably
reflect her attempt to balance herself between the two demands of
inventiveness and familiarity
Sarah Fielding: Satire and Subversion in the Eighteenth-Century Novel
No full textThis study of Sarah Fielding (1710―68) is an original contribution to Fielding scholarship that has a dual purpose: to support those who are striving to re-introduce her to the modern literary landscape in an effort to restore her eighteenth-century literary standing, and to firmly establish Fielding as an early feminist writer. It is argued here that throughout her oeuvre Fielding challenged prevailing traditions that denied women a choice, particularly in education, employment and marriage. These themes are also considered in the political treatises of Mary Astell (1666―1731) and Mary Wollstonecraft (1759―97), who are now widely recognised as feminist writers.
It is further argued that Fielding’s subversion in fiction of the English patriarchal system is underscored by her unorthodox performance in the literary arena. This is fully explored alongside her use of sentimentalism as a literary tool with which she challenges her seemingly inhumane society. Fielding’s interest in ‘the Labyrinths of the Mind’ (in modern terms, human psychology) will also be addressed as will her placement in the history of feminism and her placement in the sentimental novel tradition. Fielding’s performance as a literary critic will be compared with the few female authors who, like her, dared to publish literary criticism during her writing career. Accordingly, extracts from Fielding’s novels and her two critical pamphlets will be thoroughly examined.
An updated biography of Fielding that is also included here will provide evidence for a further claim, that her fiction is autobiographical in part. A comprehensive account of Fielding’s performance as a literary critic forms the final chapter of this work. It is the first full-length examination of her contribution to the genre and includes an appraisal of her recently unearthed critical pamphlet entitled A Comparison Between the Horace of Corneille and The Roman Father of Mr. Whitehead (1750) that is yet to be formerly attributed to her. Ultimately this study of Fielding will go far beyond what has previously been written about this remarkable eighteenth-century author, particularly regarding her feminist activity
Food and eating in fiction since 1950 with particular reference to the writing of Angela Carter, Doris Lessing, Michele Roberts and Alice Thomas Ellis.
No full textPhDEating is a fundamental activity. What people eat, how and with whom, what
they feel about food, what they do or do not want to eat and why - even who
they eat - are of crucial significance in any reading of human behaviour.
In this thesis, I consider the diverse and complex uses of food and eating
in fiction since 1950, especially that written by women. I argue both that food
and eating carry much of the meaning of a novel or story and that the acts of
cooking, feeding and eating depicted are inseparable from issues of power and
control: individually, interpersonally, culturally, politically.
My discussion centres on the writing of Angela Carter, Doris Lessing,
Michele Roberts and Alice Thomas Ellis. Drawing on psychoanalytic theory,
sociology, anthropology, Foucault, Bakhtin and others, the thesis aims to
construct an interdisciplinary perspective which both resists reductive
interpretations and emphasises the centrality, complexity and diversity of food
and eating in literature in our culture.
I begin with an examination of the ambiguities of maternal feeding and
nurturing, moving on to explore the links between appetite, eating and sexuality.
I explore cannibalism and vampirism as manifestations of oppression, but also as
indicating insatiable emptiness and transgressive appetite. The body itself is
crucial, and my argument considers the paradox of not eating as
control/enslavement, also tracing self-starvation as a positive route towards
wholeness and connection. The last part of my argument focuses on social
eating, examining conventions, rituals and food itself in connection with power
relations, and finally considers how we might truly speak of food and eating in
the context of society as a whole
Puppets in The Garden: Artifice and Nature in Angela Carter’s The Magic Toyshop
No full textPuppets are uncanny figures, both in and beyond literature. They embody a ‘thing life’, according to author and academic Kenneth Gross, combining object materialism with imitations of human thought, emotion, and action. The combination of unrelatable object life and relatable human narrative combines to create the emotion Sigmund Freud terms the uncanny, in which something strange and unknown invokes a sense of the familiar. British feminist author Angela Carter uses puppets, and their uncanniness, in her novel The Magic Toyshop. Her characters remind us of puppets, treading a line between familiar and unrecognizable.https://digitalcommons.slc.edu/undergrad_selectedworks/1008/thumbnail.jp
Angela Carter as Fiction: Refiguring the real author as Performative Author
No full textIn a 2006 article in The Independent, Christina Patterson echoes Gore Vidal by stating ‘Death, as any biographer knows, can be an excellent career move’. Commenting on a brief revival of Angela Carter’s work in 2006 concomitant with Emma Rice’s bringing of Nights at the Circus to the stage, and Vintage’s reissuing of six of her works with new introductions, Patterson refers to Carter’s ‘whole new lease on life’ suggesting the metamorphic potential and curious temporality of the authorial figure with regard to reader reception. The Vintage editions suggest, as Stephen Benson observes, the ‘legend’ of the ‘Carter effect’, identified by The British Academy Humanities Research Board, which distributes postgraduate studentships. This ‘Carter’ effect was also fostered by the theatricality of Carter’s authorial performances. Sarah Gamble has observed the ‘screen’ of authorial identity upon which readers are led to project impressions, which functions as a ‘hall of mirrors’ in relation to penetrating to the authentic author. Such attempts at authorial effacement and control are certainly not unusual. However, Carter’s postmodern enactment of the play of surfaces in the realm of authorial identity appears to heighten the consequent shifting of boundaries between fiction and life staged in her fiction. This article will address the interaction between the games with identity inscribed in Carter’s short stories and the complex identity and temporality of the Performative Author
Is Social Media the Great Information Equalizer? Exploring Current Use of Social Media by World Federation of Occupational Therapists Member Organizations
No full textAbstract
Date Presented 3/30/2017
This study used a mixed-methods survey to explore World Federation of Occupational Therapists member organizations’ use of social media. It found that although social media tools are well utilized by many organizations, enhancement of technical skills and resources would be beneficial.
Primary Author and Speaker: Anita Hamilton
Additional Authors and Speakers: Susan Burwash, Karen Jacobs, Merrolee Penman
Contributing Authors: Angela Hook, Sarah Bodell, Ritchard Ledgerd, Marilyn Pattison</jats:p
Enacting teacher evaluation reform: Reconsidering resistance during processes of policy realization
No full textThis Dissertation was approved for publication on 2018-05-17 at 09:12.DSpace SAF Submission Ingestion Package generated from Vireo submission #12573 on 2018-09-27 at 11:32:55Made available in DSpace on 2018-09-27T16:45:28Z (GMT). No. of bitstreams: 2
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Previous issue date: 2018-05-17Embargo set by: Seth Robbins for item 107845
Lift date: 2020-09-27T16:45:39Z
Reason: Author requested closed access (OA after 2yrs) in Vireo ETD systemEmbargo set by: Seth Robbins for item 107845
Lift date: 2020-09-27T16:47:41Z
Reason: Author requested closed access (OA after 2yrs) in Vireo ETD systemLimited Restriction Lifted for Item 107845 on 2020-09-28T09:15:16Z.This qualitative case study explored the impact of Race to the Top’s teacher evaluation policies in two case schools. Using Ball, Maguire, and Braun’s (2012) enactment framework as my theoretical starting point, I sought to better understand how teachers interacted with policy texts during processes of reform. Herein, the data from this study are presented two ways. First, I use them to make generalizations about similarities in policy outcomes across both cases. I then apply the lens of enactment to explore more deeply my participants’ interpretive activities. To complement this framework, I propose the concepts of productive and principled resistance. What this second analysis reveals is that the teachers responded to these policies in complex ways that sometimes carried unique meanings even when their outcomes looked alike on the surface. With this more complex conceptualization laid out, this text ends by presenting these educators’ understandings of the historical and political contexts for these policies to implore readers to consider their discursive effects.Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2020-08-01The student, Angela Masters, accepted the attached license on 2018-05-15 at 12:50.The student, Angela Masters, submitted this Dissertation for approval on 2018-05-15 at 13:02
Biophysical characterization of SARAH domain–mediated multimerization of Hippo pathway complexes in Drosophila
No full textHippo pathway signaling limits cell growth and proliferation and maintains the stem-cell niche. These cellular events result from the coordinated activity of a core kinase cassette that is regulated, in part, by interactions involving Hippo, Salvador, and dRassF. These interactions are mediated by a conserved coiled-coil domain, termed SARAH, in each of these proteins. SARAH domain–mediated homodimerization of Hippo kinase leads to autophosphorylation and activation. Paradoxically, SARAH domain–mediated heterodimerization between Hippo and Salvador enhances Hippo kinase activity in cells, whereas complex formation with dRassF inhibits it. To better understand the mechanism by which each complex distinctly modulates Hippo kinase and pathway activity, here we biophysically characterized the entire suite of SARAH domain–mediated complexes. We purified the three SARAH domains from Drosophila melanogaster and performed an unbiased pulldown assay to identify all possible interactions, revealing that isolated SARAH domains are sufficient to recapitulate the cellular assemblies and that Hippo is a universal binding partner. Additionally, we found that the Salvador SARAH domain homodimerizes and demonstrate that this interaction is conserved in Salvador's mammalian homolog. Using native MS, we show that each of these complexes is dimeric in solution. We also measured the stability of each SARAH domain complex, finding that despite similarities at both the sequence and structural levels, SARAH domain complexes differ in stability. The identity, stoichiometry, and stability of these interactions characterized here comprehensively reveal the nature of SARAH domain–mediated complex formation and provide mechanistic insights into how SARAH domain–mediated interactions influence Hippo pathway activity.This research was originally published in the Journal of Biological Chemistry. Cairns. Biophysical characterization of SARAH domain–mediated multimerization of Hippo pathway complexes in Drosophila. J. Biol. Chem. 2020; 295:. © the American Society for Biochemistry and Molecular Biology or © the Author(s). Deposited by shareyourpaper.org and openaccessbutton.org. We've taken reasonable steps to ensure this content doesn't violate copyright. However, if you think it does you can request a takedown by emailing [email protected]
Considering The Confessional: Spaces of learning and objects to move with
No full textThis thesis embraces its form as a means for recognizing and representing the work of The Confessional mobile art gallery. Comprised of seven interlocking pieces, The Confessional was designed to be moved in and out of spaces with ease provided it was built out of light materials and for a tool-less assembly. The space was built in the summer of 2018 by a team of artists and designers including Ahu Yolac, Angela Inez Baldus, Henry Wilson, and Krannert Art Museum’s exhibit and installation expert Walter Wilson. Following its construction, The Confessional has played host to artists Erin Hayden, Lila Ann Dodge, Adrian Wong, Catalina Hernández Cabal, Paulina Camacho Valencia , Alicia De Léon, and Sarah Travis. These artists have worked to collaborate with the space as it has been positioned in various locations including the Sipyard, an experimental outdoor bar located in downtown Urbana, Illinois, Monaco, an artist run gallery spaced located in St. Louis Missouri, and the Link Gallery, a commons located between the School of Art + Design at the University of Illinois and the Krannert Art Museum.
As an artist and pedagogue, I am interested in the pedagogical function of art which is shaped by the spaces and objects which inform our understanding of what we know. I trace my understanding of The Confessional and my personal relationship with the gallery to better explain the varying ways that it can be known and understood. I believe that The Confessional is one of many things that’s meaning shifts through the contexts in which we view it. I make visible this shift in meaning by describing The Confessional’s materiality, mapping its transformation from an idea to an object, anthropomorphizing and interviewing it, and sharing experiences and relationships which were informed by the making of the space and the taking of space from one place to another each time it is made again.Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2019-08-22 without embargo termsThe student, Angela Baldus, accepted the attached license on 2019-04-23 at 15:36.The student, Angela Baldus, submitted this Thesis for approval on 2019-04-23 at 16:05.This Thesis was approved for publication on 2019-04-25 at 14:09.DSpace SAF Submission Ingestion Package generated from Vireo submission #13717 on 2019-08-22 at 14:44:36Made available in DSpace on 2019-08-23T19:55:44Z (GMT). No. of bitstreams: 2
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Previous issue date: 2019-04-2
Beyond the blue: the sorrowful joy of Gee
No full textBook synopsis: The relationship between writer and reader, an unnerving intimacy with a total stranger, remains mysterious. Writing, my body is the locus of illusions that for me, in that moment, are real: scenes, faces, landscapes, flash before my eyes as I record them. My web of words, by now drained of sound and colour, is transmitted to a publisher. (Maggie Gee, Foreword)
It is a risky business holding an academic conference, and publishing a collection of academic essays, on Maggie Gee. For Gee is a satirist of the most unflinching kind, and literary scholars and their conferences are mocked throughout her work. Take, for example, Gee's most recent novel, Virginia Woolf in Manhattan (2014). Woolf – accidentally resurrected from the dead by contemporary writer Angela Lamb – learns that Angela is to attend a Woolf conference in Istanbul and is eager to go along with her. Angela has her doubts: 'I can hardly take her to her own conference', she writes to her daughter, Gerda; 'why not?,' thinks Gerda, in reply: 'Wouldn't it be helpful to have the actual writer telling all the academics and people like my mother where they are gong wrong? Surely it would be good for them' . Gee has a longstanding interest in the role of the author, since her doctoral thesis on self-conscious authors in Nabokov, Beckett and Woolf. Her first published novel Dying, in Other Words (1981), plays out that interest through fiction, in a postmodern self-conscious experimental reflection on the role of the author; her most recent novel addresses the same ideas through two author characters: the contemporary writer Angela Lamb, and the resurrected dead Woolf. This miraculous resurrection provides playful opportunity for further reflection on Roland Barthes's idea of 'the death of the author', a theoretical concept on which Gee wrote in her doctoral thesis.
Through our conversations with Gee – both at the conference and in correspondence throughout the years in which this collection has been brought together – we the editors, and our contributors, have no doubt that whilst an author may indeed not know everything about their work, the idea of intentionality is not entirely fallacious. Gee is a clever, careful writer, as well as a skilled scholar (even though she did not choose that path); she knows what she is doing when she is writing and she knows what she intends. At the same time, of course, she is under no illusion that when her fictional work ventures into the world, it will be interpreted in various and different ways
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