14 research outputs found
Rose Budd Stevens
No full textIn this black and white photograph, Mississippi author Rose Budd Stevens [Maimi Davis Willoughby] is shown leaning against a wooden porch railing alongside a number of potted plants. Stevens is pictures earing a gingham dress and her crossed arms are resting on the porch railing.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1545/thumbnail.jp
Rose Budd Stevens and Son Feeding Chickens
No full textIn this black and white photograph, Mississippi author Rose Budd Stevens is pictured standing outside with her son while she feeds the flock of chickens gathered in the yard in front of a small chicken coop. Stevens is pictured wearing a gingham dress and holding a white bowl and her son is pictured wearing denim coverall shorts and holding a cat. Trees and rolling hills are pictured behind them.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1547/thumbnail.jp
Book Review
No full textTitle: Catch and Kill: Lies, Spies and Conspiracy to Protect Predators
Author: Ronan Farrow
Publisher: Fleet/Little, Brown & Company, London
Date of Publication: 2019
Hard Back, pp 448 (including endnotes)
Title: She Said: Breaking the Sexual Harassment Story that Helped Ignite a Movement
Authors: Jodi Kantor and Megan Twohey
Publisher: Bloomsbury Circus/Bloomsbury, London
Date of Publication: 2019
Hardback, pp 310 (including index)
Title: Brave – A revealing and empowering memoir
Author: Rose McGowan
Publisher: HarperCollins
Date of Publication: 2018
Hardback, pp. 245 (plus Author’s Note & Preface ix-xvi
Rose Budd Stevens and Children
No full textIn this black and white photograph, Mississippi author Rose Budd Stevens [Maimi Davis Willoughby] is shown standing behind the railing on a front porch while her children, Will, Ben, and Celeste, are on the porch steps with their black and white dog. The two boys are seated on the porch steps and the little girl is standing on the top step beside the wooden porch column near Stevens. Stevens is pictured wearing a gingham dress with white sandals and her arms are resting on the top railing while she looks down at her children. Potted plants are pictured on either side of Stevens and a spikey bush is beside the porch steps. The entrance and windows to the house are seen behind the family.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1546/thumbnail.jp
A luminous enchantment: the letters of Rose Macaulay
No full textA Luminous Enchantment is an examination of the letters
written to Fr. Hamilton Johnson by British author Rose
Macaulay (1881-1958). The thesis focuses on the letters as
a spiritual journey. Comparison is made between the two
collections, Letters tog Friend and Last Letters tog
Friend, and Macaulay's last novel, The Towers of Trebizond,
to determine if Macaulay used the novel as a way of working
through the personal search she was undertaking in the
letters. Also discussed is Macaulay's enthusiasm for
language, literature, friendship, travel, and the minutiae
of Anglicanism. The conclusion of the thesis is that
Macaulay's search was largely an intellectual one, resulting
more in Hope than in a faith of dogma and orthodox theology
2010 Commencement Remarks
No full textThis time of year, we’re all thinking about beginnings and endings. You’re graduating and preparing to start anew. We’re saying goodbye to you and getting ready to say hello to a newly admitted class. And, in a way, the messages are the same. In fact, the themes I raised with many of you as first-year undergraduates at our 2006 opening convocation, right here in the Dome, still apply as you leave here as graduates. So if you’d indulge me, I’d like to fast forward from then to now. When you arrived on campus, I asked you to rethink the popular image of education as a preparation for life. As the British author Rose Tremain said, “Life is not a dress rehearsal,” and this is also true in education. As we say at Syracuse, you’ve been preparing for the world in the world. This is a necessity because it’s very difficult to predict what’s coming next, let alone prepare for it from afar. Regardless of whether it repeats itself, history is only a partial guide, and we are continually confronted unexpectedly with challenges that bear a sad resemblance to the past
森三郎はいかにしてローズ・ファイルマンを知ったか
No full textSaburo Mori (1911-93) is described as born in Kariya-machi, Hekikai-gun [today’s Kariya], Aichi, in 1911, and at the age of 20, his story “Akana Soemon Kyodai” [Akana Soemon Brothers] was accepted in juvenile monthly magazine Akai Tori by Miekichi Suzuki (1882-1936), before being employed at the Akai Tori company in Tokyo, as an editor-writer, in 1932 (Sakai, 1995). Kamiya (2014) revealed that his early stories of “Akai Post” [Red Post] and “Komori-gasa” [Umbrella] in 1931 and “Tsumuji-kaze” [Whirlwind] in 1936 were the retold of the work of English children’s author Rose Fyleman (1877-1957). This paper is to discover how Saburo Mori encountered the fairy stories of Rose Fyleman. After pure speculation that Sabro’s elderly brother Senzo Mori (1895-1985) might have acted as a mediator as in “Akana Soemon Kyodai” retold from Lafcadio Hearn’s "Of a Promise Kept" (Sakai, 1995) in A Japanese Miscellany (1901), the author finds a small footnote of “a drama by Fyleman” in the katakana syllabary at the end of “Gin-no uwagi” [Silver coat] by Miekichi Suzuki in 1926 March issue. The linkage of Saburo Mori and Rose Fyleman through Miekichi Suzuki is discussed, and how Fyleman's works have been accepted in Japan for a century is revealed
How did Saburo Mori Encounter Rose Fyleman
No full textSaburo Mori (1911-93) is described as born in Kariya-machi, Hekikai-gun [today’s Kariya], Aichi, in 1911, and at the age of 20, his story “Akana Soemon Kyodai” [Akana Soemon Brothers] was accepted in juvenile monthly magazine Akai Tori by Miekichi Suzuki (1882-1936), before being employed at the Akai Tori company in Tokyo, as an editor-writer, in 1932 (Sakai, 1995). Kamiya (2014) revealed that his early stories of “Akai Post” [Red Post] and “Komori-gasa” [Umbrella] in 1931 and “Tsumuji-kaze” [Whirlwind] in 1936 were the retold of the work of English children’s author Rose Fyleman (1877-1957). This paper is to discover how Saburo Mori encountered the fairy stories of Rose Fyleman. After pure speculation that Sabro’s elderly brother Senzo Mori (1895-1985) might have acted as a mediator as in “Akana Soemon Kyodai” retold from Lafcadio Hearn’s "Of a Promise Kept" (Sakai, 1995) in A Japanese Miscellany (1901), the author finds a small footnote of “a drama by Fyleman” in the katakana syllabary at the end of “Gin-no uwagi” [Silver coat] by Miekichi Suzuki in 1926 March issue. The linkage of Saburo Mori and Rose Fyleman through Miekichi Suzuki is discussed, and how Fyleman's works have been accepted in Japan for a century is revealed.departmental bulletin pape
Enabling the Auteurial Voice in "Dance Me to My Song"
No full textThis paper reveals that while the feature film "Dance me To My Song" is listed in Rolf de Heer's oeuvre, its primary author is Heather Rose Slattery, a woman with cerebral palsy who wrote, co-directed and played Julia, the lead character. I assert that in the film Julia is not held up as an object of pity, rather is a fully embodied character, thus defying the "normality drama" (Darke 1998) of disability which aims to "reinforce the able-bodied audience's self image of normality and the notion of the disabled as the inferior Other". Director de Heer seems to be giving credit for authorship where credit is due, for as a result of Rose's tenacity and agency this film is, in two ways, her creative success. Firstly, it is a rare exception to the "normality drama" because in the film's diegesis, Julia is shown triumphing not simply over the limitations of her disability, but over her able-bodied rival in love as well: she 'dances' better than her carer, the 'normal' Madelaine. Secondly, in her gaining possession of the primary credits, and the mantle of the film's primary author, Rose is shown triumphing over other aspiring able-bodied film-makers in the notoriously competitive film-making industry. As with de Heer's other films in which marginalised peoples are given voice, he demonstrates a desire not to subjugate the Other, but to validate and empower him/her
'Imprisoned in a cage of print': Rose Macaulay, Journalism and Gender
No full textThis book is the first collection on the British author Rose Macaulay (1881-1958). The essays establish connections in her work between modernism and the middlebrow, show Macaulay’s attentiveness to reformulating contemporary depictions of gender in her fiction, and explore how her writing transcended and celebrated the characteristics of genre, reflecting Macaulay’s responses to modernity. The book’s focus moves from the interiorized self and the psyche’s relations with the body, to gender identity, to the role of women in society, followed by how women, and Macaulay, use language in their strategies for generic self-expression, and the environment in which Macaulay herself and her characters lived and worked. Macaulay was a particularly modern writer, embracing technology enthusiastically, and the evidence of her treatment of gender and genre reflect Macaulay’s responses to modernism, the historical novel, ruins and the relationships of history and structure, ageing, and the narrative of travel. By presenting a wide range of approaches, this book shows how Macaulay’s fiction is integral to modern British literature, by its aesthetic concerns, its technical experimentation, her concern for the autonomy of the individual, and for the financial and professional independence of the modern woman. There are manifold connections shown between her writing and contemporary theology, popular culture, the newspaper industry, pacifist thinking, feminist rage, the literature of sophistication, the condition of ‘inclusionary’ cosmopolitanism, and a haunted post-war understanding of ruin in life and history. This rich and interdisciplinary combination will seta new agenda for international scholarship on Macaulay’s works, and reformulate contemporary ideas about gender and genre in twentieth-century British literature
