6,756 research outputs found
Interview of Mary R. Tolbert by Jeannette Sexton
No full textDr. Royal Hughes: Head of the Music Department at OSU (pp. 2-3)
-- Alfred Vivian: Dean of College of Agriculture; also established Music Dept. at OSU (p. 2)
-- Dr. Edith Keller: State Music Supervisor in the State Dept. of Education (pp. 4-5)
-- Dr. John Ramseyer: Director of University School (pp. 5, 15, 26, 28, 32-33)
-- Dr. George Arps: Dean of the College of Education (pp. 9-10)
-- Dr. Eugene Weigel: -- Professor of Music (pp. 5, 8, 10, 18)
-- Rudolph Lindquist: first Director of University School (pp. 11-12)
-- Robert Gilchrist: Director of University School (pp. 14-15)
-- Paul Klohr: named Director of University School in 1952 (pp. 15-16, 22, 24-26, 28)
-- Carl Orff: influential German composer and educator (pp. 16, 60, 63, 80)
-- James Conant: President of Harvard and noted critic of progressive education (p. 23)
-- Boyd Bode: educator whose progressive ideas influenced University College (pp. 23)
-- Novice Fawcett: OSU president credited with closing down University School (pp. 24, 26, 33)
-- David Clark: Associate Dean of Research, instrumental in closing University School (pp. 25-27, 31)
-- Alexander Frazier: successor to Paul Klohr as Director of University School (pp. 24-26, 54-55)
-- Egon Guba: Director of Bureau of Education Research, and enemy of University School (pp. 25-27)
-- Dr. Wallace DePue: Prof. of Music at Bowling Green University (p. 39)
-- Shirley Stoughton: well known singer, graduate of University School (pp. 39-40)
-- Dr. Karen Fanta Zumbrunn: professional pianist, composer; graduate of University School (p. 40)
-- Donald Becker: violinist and teacher; graduate of University School (p. 41)
-- Sterling Smith: professional harpsichordist and pianist; graduate of University School (p. 39)
-- Joel Lazaar: prominent conductor and arranger; graduate of University School (pp. 20, 42)
-- Dr. Marjorie Coakley: State Music Supervisor in the State Department (pp. 43-44, 51-56)
-- Dr. Wayne Ramsey: Chairman of Music Education at OSU (pp. 45-46, 48, 52, 54, 57-58)
-- John Bennison: drummer, teacher, advocate of African music (p. 47)
-- Eastgate: elementary school in Columbus utilized in IMPACT program (p. 48)
-- Richard Shoup: successor to Marjorie Coakley as State Music Supervisor (p. 53)
-- Dr. [?] Costanza: Chairman of Music Education (pp. 57-58)
-- Dr. [?] Hare: Director of School of Music, who suggested Tolbert should resign (p. 57)
-- Dr. Robert von Gruenigen: Chairman of Music Education (pp. 58-59)
-- Dr. Russell Morgan: Director of Music in Cleveland schools (p. 73)Tex
David H. Sexton.
No full textR-P of D. Sexton. 1 Mar. SR 1031 , 53-3, v2, 1p. [3289] or HR 1452, 53-2, v4 , 1p. [3272] Rogue River war; 1853; Oregon Volunteers
Images of Self: A Study of Feminine and Feminist Subjectivity in the Poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980
No full textPhDThe thesis explores the poetry (and some prose) of Plath, Sexton,
Atwood and Rich in terms of the changing constructions of self-image
predicated upon the female role between approx. 1950-1980.1 am
particularly concerned with the question of how the discourses of
femininity and feminism contribute to the scope of the images of the
self which are presented.
The period was chosen because it involved significant upheaval and
change in terms of women's role and gender identity. The four poets'
work spans this period of change and appears to some extent generally
characteristic of its social, political and cultural contexts in America,
Britain and Canada. (Other poets' work, for example Rukeyser, Lorde,
Levertov, is included too. ) The poets were not chosen to illustrate a
pre-feminist vs. feminist opposition since a major concern is to explore
what I see to be the symbiotic relation between femininity and feminism
(as also between orthodoxy and heresy). However the thesis is organised
chronologically because periodisation is important for a consideration
of the poetry's social setting.
In wanting to connect the poetry with cultural and political
circumstances as much as possible I have taken Edward Said's assertion
of a text's position of 'being in the world', its potential as a cultural
product to help reshape reality, and its value as a 'powerful weapon of
both materialism and consciousness'. This is the starting point for the
study which is circular and cumulative in shape, fundamentally thematic,
though each chapter is a chronological exploration of the work of one
specific poet, beginning with Plath and completing with Rich. A
conclusion attempts to pull the strands of each together and consider
the implications raised.
The thesis has four general concerns which run through its particular
focus on each poet. The first involves the relations between cultural
practice and ideology; the second involves the ideology of gender
(through exploration of femininity and feminism); the third involves
authorial ideology (through the construction of self-image in relation to
femininity and feminism) while the fourth involves these concerns in
terms of the overall arena of women's struggle for meaning and selfdetermination
in cultural practice.
More specific elements of the study include collating and comparing
self-images and attempting to make connections or chart changes where
images such as witch, queen, handmaid, shamaness, goddess, earth mother,
whore, madwoman, etc., re-occur. Usage of myth (particularly Persephone).
the Gothic, 'and articulation of lesbian desire are also explored. The
emergence of a female 'hero' self-image, in opposition to 'victim', seems
to be a corollary of the impact
,
of feminism in Rich's poetry
particularly, but this tendency can be traced back through Plath. I
explore the celebration of nature and the power of essentialism in the
construction of heroic female images, particularly in the figure of the
mother flowing with milk at the centre of 'ecriture feminine'.
The concluding chapter suggests that femininity did not constitute
such a repressive constraint on self-image and writing practice for
women as perhaps might be supposed; and that feminism, while opening up
many empowering changes for women, has raised further disturbing and
unresolved questions about identity, and even helped, in some of its
aspects, to create a new 'orthodoxy' in which various aspects of
experience cannot easily be articulated. My example is Rich's later work
where it seems to admit itself limited by its own initially liberating
strategies and looks further on towards new 'heresies.
'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
[Camden and Amboy Railroad locomotive]
No full text[handwritten] Camden & Amboy R. R. [imprinted] Built at the C. & A. R. R. Co.'s shops, Photographed by Sexton & Tantum., Bordentown, N. J
Letter from R. Sexton to Thomas Lamb Eliot
No full texthttps://rdc.reed.edu/v1/resources/41300753-6343-4a60-a268-ef70eb4b9b0d/thumb/128.jp
Letter from R. Sexton to Thomas Lamb Eliot
No full texthttps://rdc.reed.edu/v1/resources/8fe13a2f-3a85-4894-a6c7-50f3bea1e851/thumb/128.jp
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