17,018 research outputs found
Mary Hayes
No full textMary and William Hayes as well as their children moved to Central Australia in 1884. They worked as contractors fixing fences and sinking dams on Mount Burrell and Owen Springs stations. They used horse and bullock teams to carry their equipment, belongings and steel telegraph poles which they used to replace the old wooden ones on the Overland Telegraph Line.
Mary, William and their children's life was very nomadic, until Mary convinced William to settle in one place. They leased Deep Well Station and later purchased Mount Burrell, Undoolya and Owen Springs Stations.
Twenty years later they became the most successful pastoralists in Central Australia. Mary as well as her two daughters Mary and Elizabeth learnt how to brand, drove, muster and slaughter cattle as well as build and maintain fences.
Mary also reared a number of Aboriginal children whose parents were not able to provide for them.
The Hayes family station was: 5,204 square miles (13, 478 kilometres) with 11,339 cattle, 1,316 horses, 1,192 goats and 400 sheep.Pastoralis
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
No full textThis 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)
Mary Jane-Rice, standing, and Ann Slaughter
No full textMary Jane-Rice, standing, and Ann Slaughter, recently were honored at a party to say farewell to books until fall . Published in Fort Worth Star-Telegram morning edition Jun 6, 1954.https://mavmatrix.uta.edu/specialcollections_startelegram1950s/32443/thumbnail.jp
Margaret Slaughter (Dade) Smith to James F. Hansbrough, 1866 December 20
No full textLetter of Margaret Slaughter (Dade) Smith to James F. Hansbrough giving her consent to his marriage with her daughter Ophelia, the mother of Mrs E.G. Swe
Mary Shepard: the artist who brought Mary Poppins to life
No full textThe 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
"Map of the City of Old St. Stephens as it Appeared A.D. 1841."
No full textBlueprint of an 1899 map by E. M. Slaughter and Mary J. Welsh. Taced in 1942 by Owen Draper
The uniqueness of Mary Shelley's Frankenstein in the gothic literary tradition
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoA literatura gótica inglesa, cujo florescer abrangeu as últimas décadas do Século XVIII até a primeira metade do Século XIX, é geralmente alvo de um evidente menosprezo embora a grande aceitação por parte do público leitor da época. Provavelmente, algumas das razões para tal preconceito estejam relacionadas com as características um tanto quanto formulísticas do gênero bem como com os exageros ali contidos. Estes fatores, entre outros, talvez tenham ocasionado o descaso do público moderno para com a maioria das traduções góticas. Porém, o romance Frankenstein: ou o Moderno Prometeu (1818) da escritora inglesa Mary Shelley parece ter desafiado todo e qualquer preconceito quanto ao seu gênero literário e não apenas sobrevive ainda mas é, inclusive, considerado por muitos atualmente como um mito moderno. A longevidade desta obra sui generis poderia ter sido investigada sob vários ângulos diferentes e decidiu-se examiná-la sob a perspectiva do fato de Frankenstein pertencer ao gênero gótico. Para tanto fez-se imperativa a leitura de outras obras representantes do goticismo como forma de possibilitar uma análise contrastiva que pudesse apresentar as razões para a singularidade de Frankenstein dentro da literatura gótica. Em seguida realiza-se uma análise contrastiva entre Frankenstein e esses romances
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