16,195 research outputs found
MARY PEPCHINSKI, MARIANN SIMON (eds.) - Ideological Equals: Women Architects in Socialist Europe 1945-1989
Full text linkMary Pepchinski, Mariann Simon (eds.)Ideological Equals: Women Architects in Socialist Europe 1945-1989Abingdon, New York: Routledge, 2017. 195 pp. Hardcover. Language: English. 52 €ISBN-10: 1472469267ISBN-13: 978-1472469267Mary Pepchinski, Mariann Simon (eds.)Ideological Equals: Women Architects in Socialist Europe 1945-1989Abingdon, New York: Routledge, 2017. 195 pp. Tapa dura. Idioma: inglés. 52 €ISBN-10: 1472469267ISBN-13: 978-147246926
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
Full text linkThis 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)
Review of: Mary Pepchinski: Feminist Space. Exhibitions and Discourses between Philadelphia and Berlin 1865–1912. Weimar: VDG Verlag und Datenbank für Geisteswissenschaften 2007.
No full textMary Pepchinski widmet ihre Untersuchung temporären Ausstellungen, die im Zeitraum von 1865 bis 1912 im deutschsprachigen Raum und in den USA entstanden sind und die zum Ziel hatten, in der bürgerlichen Öffentlichkeit Räume für feministische Anliegen und Diskussionen zu schaffen. In diesen um 1900 neu entstehenden Räumen der weiblichen Kultur spiegeln sich die feministischen Diskurse der Epoche und fließen in die von den Akteurinnen des gehobenen Bürgertums geschaffenen, charakteristischen Raumschöpfungen ein. Die Autorin stellt bislang unbekanntes Quellenmaterial vor und eröffnet durch ihren interdisziplinären Blick den Zugang zu einem vernachlässigten, da bislang unbekannten Teil der Kulturgeschichte der Moderne.Mary Pepchinski devotes her study to those temporary exhibitions taking place in German-speaking areas and in the USA between 1865 and 1912 that have as their goal the creation of spaces for feminist concerns and discussions in bourgeois public society. In these female cultural spaces emerging around 1900, we can see the reflection of feminist discourse specific to the era as it penetrates the characteristic spaces created by upper middle class women. The authors present little known source material and through their interdisciplinary approach they open up a point of access to an undiscovered aspect of the cultural history of modernism
Mary Shepard: the artist who brought Mary Poppins to life
Full text linkThe 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
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
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
Mary Shelley, Life of William Godwin
Full text linkMary Shelley's Life of William Godwin is an incomplete biography of a major author of the Enlightenment by his daughter, a major Romantic author. The working title 'Life of William Godwin' was affixed some time ago by the Bodleian to a sheaf of papers dated 1835 to 1839, the majority in the handwriting of Mary Wollstonecraft Shelley, forming an 'unfinished' and 'abortive' biographical memoir of her late father. In July 1836, Godwin's widow Mary Jane signed a contract with publisher Henry Colburn [Bodleian, MS. Eng. lett. c. 461, fol. 153] for a two-volume 'Memoirs and Correspondence of the late William Godwin', to be written by Mary Shelley, who referred to it while it was in preparation as 'my Father's Life'. At this period, she was 'Mrs Shelley', widow of the poet Shelley, mother of the heir to a baronetcy and daughter of a famous but questionable marriage - that of Mary Wollstonecraft, author of A Vindication of the Rights of Woman, to William Godwin, author of An Enquiry concerning Political Justice. "Mary Shelley, Life of William Godwin" was originally published as a part of Sydney Electronic Text and Image Service (SETIS), Faculty Projects collection (https://digital.library.sydney.edu.au/pages/setis
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