4,732 research outputs found
Emily Brontë : the mind of a visionary
No full textBibliography: leaves 216-226.This dissertation is an investigation of the visionary and philosophical aspects of Emily Brontë's works. The first five chapters deal with the visionary process such as visions, spirit guides, dreams, imagination, encounters with the darker side of the self and a union with the divine. There is considerable evidence of these mystical avenues in both her poetry and in Wuthering Heights which have been explored. It is shown how Emily Brontë's mysticism is a direct result of personal experiences which augment her reputation as one of the leading mystics in the world of literature. There are however tensions in her works, such as the cynicism of her own intellect in accepting the visionary experiences as authentic and periods of suffering when her faith is tested. These tensions have been considered within the context of her mystical encounters and philosophy. The remaining four chapters deal with the philosophy of Emily Brontë per se. Her beliefs in respect of heaven and hell, mercy and justice, power and survival, and pantheism are considered in depth. It is argued that she is an unorthodox thinker who does not believe in an eternal hell and that she has drawn inspiration for this idea from Frederick Maurice and Ralph Waldo Emerson. It is also shown how issues of power have been of interest to her from a young age and how this needs to be integrated within her philosophy. To the writer power needs to be tempered by compassion if it is to be of use to society or the individual. Her pantheistic spirit is also investigated and related to the mystical ideas
Tradução de poesia: Emily dickinson segundo a perspectiva tradutória de Augusto de Campos
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014Esta dissertação, a partir da perspectiva teórica e prática de Augusto de Campos quanto à tradução de poesia, visa analisar sete de suas traduções dos poemas da norte-americana Emily Dickinson, publicadas na obra Emily Dickinson: não sou ninguém, em 2008. O trabalho foi dividido em três capítulos. O primeiro tratados principais elementos que constituem a poética de Dickinson, bem como das traduções brasileiras de suas obras. Como embasamento teórico foram utilizados Gilbert e Gubar (1984), Donoghue (1969), Sewall (1963) e Daghlian(1987), dentre outros autores. O segundo capítulo tem como objetivo apresentar Augusto de Campos como poeta e como tradutor, com ênfase nos seus comentários sobre tradução, visando compreender sua prática tradutória. O terceiro capítulo analisa as traduções de sete poemas de Dickinson realizadas por Augusto de Campos e busca identificar a relação entre a teoria e a prática do tradutor. Essa análise, de caráter discursivo, além do plano formal e sintático, se concentra no plano semântico dos textos, tendo em conta que não possui a pretensão de realizar qualquer tipo de julgamento prescritivo.Abstract: This dissertation, from the perspective theoretical and practical of Augusto de Campos about the poetry translation, analyzes seven of his translations of the North-American poet Emily Dickinson, published in the book "Emily Dickinson: não sou ninguém", in 2008. This work contains three chapters; the first presents the main elements that constitute the Dickinson's poetry, as well as the Brazilian translations of her poems. It has, as theoretical support, author slike: Gilbert and Gubar (1984), Donoghue (1969) Sewall (1963) and Daghlian(1987). The second chapter aims to approach the main remarks of Augusto,highlighting his activity as poet and as translator, aiming to understand his practice of translation. The third chapter analyses the Augusto's translations of seven poems of Dickinson and try to identify the relationship between the theory and the practice of the translator. This discursive, besides the formal and syntactic field focuses on the semantic field of the poems, without any kind of prescriptive judgment
Dead Sleep True Crime for Bedtime:"Penning Poison" w/author Dr Emily Cockayne
No full textDead Sleep True Crime for Bedtime, "Penning Poison" w/author Dr Emily Cockayn
We Belong to No Soil: Nation and Narration in the Work of Emily Perkins
No full textEmily Perkins' work exemplifies a shift in the way the nation is represented in New Zealand fiction. In place of the cultural nationalist acceptance that the writer should attend faithfully to the New Zealand referent and seek to define the nation we find doubt, uncertainty and resistance. This shift has been observed positively in some contemporary criticism, notably in Anna Jackson and Jane Stafford's Floating Worlds (2009). But other commentary, such as Patrick Evans' 2003 'Spectacular Babies' essay, is highly negative. There is a surprisingly small amount of critical attention dedicated to contemporary New Zealand writing. This thesis will offer some reasons for this lack of commentary and propose a framework within which Perkins' work can be analysed. It will also identify the ways in which Perkins' work refers to the nation and how this differs from the way in which the cultural nationalists referred to the nation. I argue that new critical modes are required to approach contemporary New Zealand writers like Perkins that reach behind the cultural nationalist influence. Accordingly, I position Perkins' way of representing New Zealandness alongside that of early writers Benjamin Farjeon and Katherine Mansfield, to show that a non-essentialised identity can be expressed in the text. The contemporary approach to this endeavour can be compared to what I call "pre-nationalist" writing, although early avoidances of the New Zealand referent were not as deliberate as they now are. I argue that like Katherine Mansfield, Perkins' textual relationship with New Zealand is metonymic rather than referential. Her writing conjures up New Zealand without generalising it or essentialising it. In this thesis, I address three of the primary ways that Perkins achieves this in her writing. Firstly, she addresses the meaning of place and its significance in the formation of subjectivity. Secondly, she deliberately avoids taking an overt political stance and use of the Māori referent. The absences in her work contrast with detailed attention to what is there, and so appear as a presence. In this sense her work depends largely on how the reader is able to interpret the absences and provide what is unsaid. Thirdly, her attention to New Zealandisms, linguistic idiosyncrasies and her use of taboo language refer to New Zealandness but simultaneously reveal self-consciousness. I argue that the diagnosis of New Zealand identity as 'floating', while useful, is problematic because it tends to have a silencing effect on discussions of contemporary literature. Characterising New Zealand identity as 'floating' appears to signal the end of the conversation and to assume that because the literature cannot be categorised, it cannot be discussed either. This thesis will suggest alternative ways of addressing New Zealandness which open up, rather than close, new possible perspectives on contemporary New Zealand literature.</p
Gender and the politics of the gaze in Bronte's Wuthering Heights
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.O objetivo deste estudo é apresentar uma análise de como a imagem de Catherine é moldada pelo olhar masculino, como ela enfrenta os três tipos de olhar - o olhar dos personagens, o olhar do leitor, e o olhar do autor - e finalmente, se o olhar masculino é interrompido. O parâmetro teórico desta análise, o conceito do olhar masculino, é teorizado por Laura Mulvey no artigo "Prazer Visual e Cinema Narrativo" (1975) o qual critica a relação entre o olhar masculino e a imagem feminina do prazer visual moldado pela sociedade patriarcal. Através da crítica de Mulvey do prazer visual generizado em filmes, que pertence ao contexto do cinema clássico de Hollywood, articulo sua teoria em relação ao romance Wuthering Heights de Emily Brontë para examinar a dinâmica do olhar masculino em relação à personagem feminina Catherine. Este estudo teve também por objetivo analisar o quanto o paradigma teórico de Mulvey produzido para cinema poderia ser aplicado especificamente em um texto literário escrito no século XIX.The objective of this thesis is to present an analysis of whether Catherine's image has been shaped by the male gaze, how she contends with the three looks of the male gaze - the look of the characters, the look of the reader, and the look of the author - and finally, how the male gaze is broken. The theoretical parameter of this analysis, the concept of the male gaze, is theorized by Laura Mulvey in the article "Visual Pleasure and Narrative Cinema" (1975) which critiques the relation between the male gaze and the female image within the patriarchal molding of visual pleasure. Borrowing Mulvey's critique of the gendering of visual pleasure in films, which pertains to the context of classical Hollywood cinema, I have articulated her theory in relation to Emily Brontë's Wuthering Heights, to examine the dynamics of the male gaze regarding the female character, Catherine. This study also aimed at examing the extent to which Mulvey's theoretical paradigm produced for cinema could be articulated specifically in relation to a literary text written in the nineteenth century
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COVID-19 Interview with Emily Oster
No full textA discussion on the COVID-19 pandemic with Emily Oster, economist and author of "Expecting Better" and "Cribsheet."Salem Cente
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Emily Witt on Nollywood
No full textWe sit down with Emily Witt, author of Nollywood: The Making of a Film Empire. Amid electricity cuts, fuel scarcity, and countless other obstacles, how did Nigeria create the second largest movie industry in the world
The Benefits of Being Economics Professor A (and not Z)
No full textAlphabetic name ordering on multi-authored academic papers, which is the convention in the economics discipline and various other disciplines, is to the advantage of people whose last name initials are placed early in the alphabet. As it turns out, Professor A, who has been a first author more often than Professor Z, will have published more articles and experienced afaster growth rate over the course of her career as a result of reputation and visibility. Moreover, authors know that name ordering matters and indeed take ordering seriously: Several characteristics of an author group composition determine the decision to deviate from the default alphabetic name order to a significant extent.performance measurement, incentives, economists, name ordering
Emily Bissell at sanatorium dedication
No full textThis negative is a copy of a photograph that shows Emily Perkins Bissell attending the dedication ceremony for the Emily P. Bissell Hospital. The hospital was originally founded as the Brandywine Sanatorium, a treatment facility for tuberculosis patients. Bissell is the women seated in the center of this image
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