1,323 research outputs found
'The cracked mirror': Anne Sexton's poetics of self-representation
No full textThis thesis re-evaluates the work of the poet Anne Sexton (1928-1974), concentrating, in particular, on the indeterminacies, contradictions and aporia which it finds to be characteristic of her ostensibly frank and self-revelatory writing. The study is based on a close textual
analysis of Sexton's writing, is informed by oststructuralist theories, and is sustained by an
examination and discussion of archive collections of her previously unpublished papers. In seeking an understanding of Sexton's poetics, the thesis identifies and interrogates the strategies of denial and obfuscation apparent in her own explication of her work - principally, by scrutiny of the unpublished, and previously unresearched, drafts of a series of lectures
which she delivered in 1972. Chapters One and Two consider the origins of `confessional' or - Sexton's preferred term - 'personal' poetry and reassess her place within contemporary poetry. They suggest that
Sexton's writing is engaged in a process of negotiation and contestation, both with the boundaries and expectations of confessionalism, and with the strictures of T. S. Eliot's theory of `impersonality'. In support of these arguments, Chapter Two offer a reading of Sexton's
little-known poem, `Hurry Up Please It's Time', alongside its intertext, Eliot's The Waste Land. Chapter Three reassesses received views of the supposedly beneficial interrelationship between confessional speaker and reader. It examines Sexton's appropriation of dramatic
masks and personae and her use of metaphors of striptease and prostitution, and suggests that these are employed simultaneously to appease and to repel an intrusive audience. Similarly, Chapters Four and Five trace Sexton's problematisation of two previously-accepted tenets of confessional poetry: its status as autobiography and its truthfulness, drawing attention to the techniques employed in order to give the impression of both. Chapter Six considers Sexton's
problematic engagement with a language which is not malleable, transparent, and referential but, rather, is experienced as uncooperative and occlusive. Finally, the thesis recuperates Sexton from the common charge of narcissism, arguing that it is the writing, rather than the poet, which is self-reflexive and self-conscious. In this respect, it concludes that her work - perhaps unexpectedly - anticipates many of the tendencies of postmodernist writing
Primer prefinjene medbesedilnosti: Odmevi Flaubertove Gospe Bovary v romanu Pripovedovanje zgodb Anne Cleeves
No full textThe topic of this article is intertextuality in the novel Telling Tales by the British writer Anne Cleeves. Cleeves is one of the most successful contemporary authors of crime novels. She owes part of her fame to high-profile television adaptations of the Shetland and Vera series. However, her novels are not only cleverly crafted stories to suit a wide audience; they also cater for more sophisticated readers. In this article, we aim to show the multilayered nature of her writing by using the example of Telling Tales, a novel that is interwoven with thematic and even formal allusions to Flaubert’s Madame Bovary, although a reader who is not susceptible to intertextuality can enjoy the plot and denouement of a crime story even without it. Similarly, intertextual clues are easily missed in the television adaptation of the novel. But for the reader who catches the intertextual clues, they are certainly an enrichment. Anne Cleeves uses them as a means of psychological characterization, but they also serve as a starting point for reflection on reading. The author, who believes in the importance and even the therapeutic value of reading, allows for the possibility of a “bad”, harmful reading and reflects on it through the story of a side character whose attitude to books and life is reminiscent of Flaubert’s heroine.Tema pričujočega članka je medbesedilnost v romanu Telling Tales (Pripovedovanje zgodb) britanske pisateljice Anne Cleeves. Anne Cleeves je ena najuspešnejših sodobnih avtoric kriminalnih romanov. Del svoje slave dolguje odmevnim televizijskim priredbam (seriji Shetland in Vera). Vendar pa njeni romani niso le spretno izpisane zgodbe po okusu širokega občinstva, temveč zadovoljijo tudi zahtevnejše bralce. V članku želimo na primeru romana Telling Tales, ki ga avtorica preplete z vsebinskimi in celo formalnimi aluzijami na Flaubertov roman Gospa Bovary, prikazati večplastnost njenega pisanja. Bralec, ki za medbesedilnost ni dovzeten, lahko tudi brez nje uživa v zapletu in razpletu kriminalne zgodbe. Prav tako medbesedilne namige zlahka pogrešimo v televizijski priredbi romana. Za bralca, ki medbesedilne namige prestreže, pa ti zagotovo pomenijo obogatitev. Anne Cleeves jih uporabi kot sredstvo psihološke karakterizacije, služijo pa ji tudi kot izhodišče za refleksijo o branju. Avtorica, ki verjame v pomen in celo terapevtsko vrednost branja, skozi zgodbo stranske junakinje, ki po svojem odnosu do knjig in življenja močno spominja na Flaubertovo junakinjo, v zgodbo pripusti tudi razmislek o “slabem branju”
Outstanding Female Economists in the Analysis and Practice of Development Economics
No full textThis article examines the contributions of five eminent economists, all women, to the analysis and practice of development economics. Irma Adelman, Frances Stewart, and Nancy Birdsall are leading advocates of alternative development strategies that focus on poverty alleviation and investment in human capital. Anne Krueger and Alice Amsden stand at the forefront of two opposing camps in a lively and long-lasting debate on the appropriate role of government in trade and industrialization. We use the storied careers of these economists as a vehicle to convey the big picture of how development economics has evolved and which topics have proved durable.Peer reviewe
An annotated tranlation of Annette, ein Heldinnenepos by Anne Weber
No full textPředmětem této diplomové práce je překlad vybrané části knihy Annette, ein Heldinnenepos od německo-francouzské autorky Anne Weber. Kniha vyšla v nakladatelství Matthes & Seitz Berlin v roce 2020 a jejím tématem je život francouzské odbojářky a neurofyzioložky Anne Beaumanoir. Zajímavostí tohoto díla je jeho forma, která se pohybuje na hraně rytmizované prózy a volného verše. Práce sestává ze dvou částí. První, praktickou část tvoří samotný překlad z němčiny do češtiny. Druhá, teoretická část pak pojednává o autorce knihy a předkládá odborný komentář, který obsahuje podrobnou překladatelskou analýzu výchozího textu, metodu překladu, strategie řešení překladatelských problémů a překladatelské posuny, ke kterým při překladu došlo.The subject of this thesis is a translation of a selected part of the book Annette, ein Heldinnenepos by the German-French author Anne Weber. The book was published by Matthes & Seitz Berlin in 2020 and focuses on the life of the French resistance fighter and neurophysiologist Anne Beaumanoir. This work is especially noteworthy for its form, which straddles the line between rhythmic prose and free verse. This thesis consists of two parts. The first, practical part consists of the translation from German into Czech. The second, theoretical part then discusses the author of the book and presents an expert commentary which includes a detailed translation analysis of the source text, the method of translation, strategies for solving translation problems and the translation shifts that occurred during the translation.Ústav translatologieInstitute of Translation StudiesFilozofická fakultaFaculty of Art
Open access self-archiving: An author study
No full textThis, our second author international, cross-disciplinary study on open access had 1296 respondents. Its focus was on self-archiving. Almost half (49%) of the respondent population have self-archived at least one article during the last three years. Use of institutional repositories for this purpose has doubled and usage has increased by almost 60% for subject-based repositories. Self-archiving activity is greatest amongst those who publish the largest number of papers. There is still a substantial proportion of authors unaware of the possibility of providing open access to their work by self-archiving. Of the authors who have not yet self-archived any articles, 71% remain unaware of the option. With 49% of the author population having self-archived in some way, this means that 36% of the total author population (71% of the remaining 51%), has not yet been appraised of this way of providing open access. Authors have frequently expressed reluctance to self-archive because of the perceived time required and possible technical difficulties in carrying out this activity, yet findings here show that only 20% of authors found some degree of difficulty with the first act of depositing an article in a repository, and that this dropped to 9% for subsequent deposits. Another author worry is about infringing agreed copyright agreements with publishers, yet only 10% of authors currently know of the SHERPA/RoMEO list of publisher permissions policies with respect to self-archiving, where clear guidance as to what a publisher permits is provided. Where it is not known if permission is required, however, authors are not seeking it and are self-archiving without it. Communicating their results to peers remains the primary reason for scholars publishing their work; in other words,
researchers publish to have an impact on their field. The vast majority of authors (81%) would willingly comply with a mandate from their employer or research funder to deposit copies of their articles in an institutional or subject-based repository. A further 13% would comply reluctantly; 5% would not comply with such a mandate
Creative Process Leading to the Author Performance.
No full textThis work is an analysis of creative process leading to the author performance. Like example do I present here three of my own performances Mimi and Lord; Adieu, Tourniére; The Voice of Anne Frank and their genesis from first impulse through rehersals to the premiere
Depression and Gender: The Expression and Experience of Melancholy in the Eighteenth Century
No full textThis thesis investigates the life and work of six eighteenth-century writers, two male and four female. It explores their experience of depression through their letters and other autobiographical material, and examines the ways in which they represent melancholy in their poetry and prose. The subject of Chapter Two is Thomas Gray, whose real life persona as the lonely intellectual is also identifiable in his poetry. The Scottish poet Robert Fergusson is studied in Chapter Three. Fergusson’s lively and vigorous mind was shattered in the months leading up to his death, during which time some of his writing became darkly nihilistic. Chapter Four looks at Anne Finch, Countess of Winchilsea, a lifelong depressive who often wrote about her feelings of despair in her poetry. Chapter Five explores Lady Mary Wortley Montagu. She was a courageous and controversial figure, but despite her resilience, on occasion in her letters she reveals her vulnerability and susceptibility to low spirits, a mood which is sometimes expressed in her creative writing. Sarah Scott, whose life and work have not yet been considered in relation to the subject of melancholy, is examined in Chapter Six. Her novel includes several low-spirited and depressed female characters who are continually seeking asylum from a hostile world. Chapter Seven analyses Charlotte Smith, a mother of twelve children whose unhappy marriage ended in separation. Smith wrote extensively about her depression in her letters, prefaces, poetry and novels.
This study shows that the women in particular use their writing on melancholy and depression to express their discontent with the confined way in which they are often expected to live out their lives
"Born aloft on the wings of imagination": modern women of genius in Anne of Green Gables and The Well of Loneliness
No full textOn the surface, the two early twentieth century novels Anne of Green Gables and The Well of Loneliness do not appear to share much in common. However, the two books actually share striking similarities, particularly because the protagonists of both books – Anne and Stephen, respectively-can be read as homosexual characters. Although both characters display some masculine tendencies, their homosexuality is linked to a uniquely feminine imagination that leads to creative acts distinct from masculine creativity. Most frequently, their imaginations are depicted through nature, as Montgomery and Hall subtly argue that lesbianism is a natural part of the world. The feminine genius practiced by Anne and Stephen continues into adulthood and reflects the biographies of both Montgomery and Hall. Although Anne and Stephen’s genius initially begins out of their childhood isolation, their creative work actually develops as a highly social act distinct from both the non-empathetic and unemotional writing of male modernists and the female modernists (like Gertrude Stein) who mimic male modes of writing. Through their characters, Montgomery and Hall argue for a decidedly female version of genius and at the same time respond to an inherent male bias in the definition of genius. More broadly, they also reinforce the idea that modernism was defined by a blurring of the lines that divided multiple dichotomies: namely, medicine versus art; child versus adult; nature versus self; and-most importantly, male versus female.M.A.Includes bibliographical referencesby Christina M. Singletar
How to be a woman. Models of masochism and sacrifice in young adult fiction
No full textBuffy, Bella, Veronica, Katniss, Clary, Tris and Saba : For two decades post-feminist heroines have faced life-threatening trials as part of their progress to womanhood. In this chapter I consider how young adult popular fictions operate as forms of pedagogy for young women by offering them particular models of maturity and womanhood. I explore the recurrence and reformulation of a persistent pattern of behaviour in which heroines engage in risky and/or masochistic behaviours for which they are emotionally rewarded.. These recurrences function as a form of vicarious experiential learning in which readers and viewers learn that emotional gratification and adult status are conferred through self-harm and self-sacrifice. Popular culture is not a monolithic form and young adult fictions are no exception. An analysis of fictional examples of this behaviour pattern challenges the idea that heroines today are empowered agents as a result of the legacy of feminism. At the same time, the analysis belies any notion that fictions are universally hegemonic and oppressive – fictions can and do disrupt and interrogate this pattern of emotional masochism. Scholars of public pedagogy have explored the complexities, contradictions and subtleties of the pedagogical process. Sandlin O’Malley and Burdick (2011) in their review of public pedagogy literature acknowledge that some scholarship has demonstrated how “the teaching and learning inherent within daily life can be both oppressive and resistant” (p. 144). Jubas and Knutson (2012) also see public pedagogy as an arena where contradictions and tensions are in play. They argue that we can see “New examples of dialectic or tensions … between the authority of the producer and the consumer; between traditional structures which ground identities and help people make sense of cultural texts, and personal agency which frees people to choose and invent identities and meanings” (p. 86). This analysis aims to contribute to understandings of the complexities of public pedagogy by showing how fictions aimed primarily at young women both resist and accommodate patriarchy
Erratum: An algorithm-based topographical biomaterials library to instruct cell fate (Proceedings of the National Academy of Sciences of the United States of America (2011) 108, 40 (16565-16570) DOI: 10.1073/pnas.1109861108)
No full textAPPLIED BIOLOGICAL SCIENCES Correction for “An algorithm-based topographical biomaterials library to instruct cell fate,” by Hemant V. Unadkat, Marc Hulsman, Kamiel Cornelissen, Bernke J. Papenburg, Roman K. Truckenmüller, Gerhard F. Post, Marc Uetz, Marcel J. T. Reinders, Dimitrios Stamatialis, Clemens A. van Blitterswijk, and Jan de Boer, which appeared in issue 40, October 4, 2011, of Proc Natl Acad Sci USA (108:16565–16570; first published September 26, 2011; 10.1073/pnas.1109861108). The authors note that Anne E. Carpenter and Matthias Wessling should be added to the author list between Roman K. Truckenmüller and Gerhard F. Post. Anne E. Carpenter should be credited with analyzing data. Matthias Wessling should be credited with designing research. The corrected author and affiliation lines, and author contributions appear below. The online version has been corrected
- …
