120 research outputs found
The characterization of women in "fortunata y jacinta", 1977
No full textThis paper examines literary images of women in Galdos' Fortunata y Jacinta in an effort to cast new light on sociological perspectives of women in nineteenth-century Spanish society. The study is composed of three chapters. The first chapter gives a brief introduction to the author and his works and presents a synopsis of nineteenth-century Spanish history. It also gives a summary of Fortunata y Jacinta and relates Galdo's portrayal of feminine life to the actual life of Spanish women during the nineteenth century. The second and third chapters make up the major part of the study. Chapter two contrasts the female characters in the novel and cites examples which help to show their role in nineteenth-century Spanish society. Chapter three, an examination of the individual, class, and society in Fortunata y Jacinta, shows how nineteenth-century Spanish life had an effect on the female characters. The conclusion is that the characterization of women in Fortunata Jacinta, when compared with the actual position of women in nineteenth-century Spain, reveals that much of that era's feminine life is reflected in the novel
Social exclusion, infant behavior, social isolation, and maternal expectations independently predict maternal depressive symptoms
No full textSocial exclusion, infant behavior, social isolation, and maternal expectations independently predict maternal depressive symptoms John E. D. Eastwood, Bin Jalaludin, Lynn Kemp, Hai Phung, Bryanne A. M. Barnett & Jacinta Tobin
Brain and Behavior 2013; 3(1): 14–23
On page 15, we made the following material error: “n = 2199” should be “n = 21,991.” We regret this error. It has no consequences for the reported analyses and conclusions.
The original article can be accessed via http://handle.westernsydney.edu.au:8081/1959.7/uws:4441
Walking contemporary Indigenous songlines as public pedagogies of country
No full textThe singing and dancing of Darug peoples once echoed throughout the Hawkesbury Nepean riverlands in ceremony. A long and challenging walk through bushland along the Nepean River, from Emu Green to Yarramundi on the Hawkesbury River, invites the walker to meditate on the presences and absences of these river places. Yarramundi is an important site for Darug people today, as it holds the history and cultural memories of singing the rivers in song and ceremony. Walking contemporary Indigenous songlines asks how we can come to know the river through walking the contemporary songlines of Darug songwriters and artists that sing the country of the riverlands today, and what is produced when this is enacted as public pedagogy. The paper explores a process of walking the Nepean River Trail, from my home at Emu Green to the Shaws Creek and Yellomundee Aboriginal cultural trails. The walk is reproduced as public pedagogy with collaborators Leanne and Jacinta Tobin, who have deep family connections to Yarramundi: connections that were temporarily lost through their early lives, and recreated through art, language and music practices in contemporary creations of ancestral songlines and connections. The public pedagogy performance was enacted at the Circular Quay International Passenger Terminal in a presentation of three songs, 73 artworks, and a short explanatory talk to an audience of 700 members of the Australian Institute of Landscape Architects. This paper asks: What does this public pedagogy produce? What does it mean to enact it at this historic site of colonial invasion and contemporary arrival of both temporary and permanent immigrants to this landscape
Walking Contemporary Indigenous Songlines as Public Pedagogies of Country
No full textThe singing and dancing of Darug peoples once echoed throughout the Hawkesbury Nepean riverlands in ceremony. A long and challenging walk through bushland along the Nepean River, from Emu Green to Yarramundi on the Hawkesbury River, invites the walker to meditate on the presences and absences of these river places. Yarramundi is an important site for Darug people today, as it holds the history and cultural memories of singing the rivers in song and ceremony. Walking contemporary Indigenous songlines asks how we can come to know the river through walking the contemporary songlines of Darug songwriters and artists that sing the country of the riverlands today, and what is produced when this is enacted as public pedagogy. The paper explores a process of walking the Nepean River Trail, from my home at Emu Green to the Shaws Creek and Yellomundee Aboriginal cultural trails. The walk is reproduced as public pedagogy with collaborators Leanne and Jacinta Tobin, who have deep family connections to Yarramundi: connections that were temporarily lost through their early lives, and recreated through art, language and music practices in contemporary creations of ancestral songlines and connections. The public pedagogy performance was enacted at the Circular Quay International Passenger Terminal in a presentation of three songs, 73 artworks, and a short explanatory talk to an audience of 700members of the Australian Institute of Landscape Architects. This paper asks: What does this public pedagogy produce? What does it mean to enact it at this historic site of colonial invasion and contemporary arrival of both temporary and permanent immigrants to this landscape
Australian First Nations Sand Map
No full textThe Australian First Nations Sand Map project recognises the long and continuous connection of First Nations to the Burramatta Darug lands. It marks the former Kamballa and Taldree Children’s Shelter at Parramatta Girls Home as a Keeping Place for Stolen Generations. Created by PFFP Memory Project for the public event ‘Long Time Coming Home’ on 27 May 2017, this participatory artwork celebrates the return of Darug people to this significant Burramatta women’s meeting place through community and creativity. Mt Druitt Children’s Choir and Jacinta and Leanne Tobin composed the Darug language songs performed on the day and featured in this film, music developed in collaboration with Aboriginal communities and former residents of Parramatta Girls Home remembering the Stolen Generation and Indigenous Forgotten Australians
Jacinta\u27s Vista Al Cuarto Estado : The Galley Version
No full textThe galley stag in the production of Galdós\u27s novels provided the author with an opportunity for final revision before his texts went to press. Despite Berkowitz\u27s claims to the contrary, Galdós did make numerous changes in his works prior to their publication. Indeed, no page of Fortunata y Jacinta\u27s galleys is left untouched. Yet, surprisingly little critical attention has been afforded this important stage in the production of Galdós\u27s masterpiece. In 1978 James Whiston pioneered the way for further study in this area by publishing a brief article discussing how minor substitutions and additions to the galleys rendered the language of the text more natural or expressive and created a more positive impression of Fortunata\u27s character. Some eight years later Francisco Caudet acknowledged the importance of the galleys by supplementing the text of his 1985 edition of the novel with footnotes, quoting some of the material that was either discarded or changed at the galley stage. More recently, in her 1992 book analyzing the development of Fortunata y Jacinta from the Alpha manuscript through its published version, Mercedes López-Baralt dedicated a chapter to showing how various galley revisions affected the characterization process. Finally, my own 1993 article examined the relationship between Moreno-Isla and Jacinta in light of material that was deleted from the galleys
Naturalistic elements in the novel Fortunata and Jacinta
No full textBakalářská práce se zaměřuje na prvky naturalismu v díle Fortunata a Jacinta od španělského autora Benita Péreze Galdóse. Úvodní část je věnována autorově biografii a historicko- literárnímu kontextu naturalismu. Dále se práce zevrubně zabývá samotným románem. Analýza chování a mluvy postav je zaměřena na identifikaci motivů jejich činů. Jsou zde rovněž uvedeny znaky a projevy naturalismu. Práce také zkoumá vliv prostředí a skrytý význam postav. V závěru analýza sleduje vliv naturalismu na lidský charakter a vyzdvihuje roli symboliky.This bachelor's thesis is focused on the naturalistic elements in the novel Fortunata and Jacinta, which was written by a Spanish author Benito Pérez Galdós. The initial part is dedicated to the author's biography and the historical-literary context of naturalism. Furthermore, the work examines thoroughly the novel itself. The analysis of behaviour and the manner of speech of the characters is oriented on identification of motives for their actions. The features and manifestations of naturalism are also presented. The work also examines the influence of a person's surroundings and the hidden meaning of the characters. In the closing part the work analyses the impact of naturalism on human character and emphasises the role of symbolism.Institute of Romance StudiesÚstav románských studiíFilozofická fakultaFaculty of Art
Naturalistic elements in the novel Fortunata and Jacinta
No full textThis bachelor's thesis is focused on the naturalistic elements in the novel Fortunata and Jacinta, which was written by a Spanish author Benito Pérez Galdós. The initial part is dedicated to the author's biography and the historical-literary context of naturalism. Furthermore, the work examines thoroughly the novel itself. The analysis of behaviour and the manner of speech of the characters is oriented on identification of motives for their actions. The features and manifestations of naturalism are also presented. The work also examines the influence of a person's surroundings and the hidden meaning of the characters. In the closing part the work analyses the impact of naturalism on human character and emphasises the role of symbolism
The So-Called Problem of Closure in \u3ci\u3eFortunata y Jacinta\u3c/i\u3e and \u3ci\u3eTristana\u3c/i\u3e Revisited By Means of Musical Structure
No full textCritics continue to be puzzled by the closure of both Fortunata y Jacinta and Tristana. For example, in 1986 Hazel Gold published “Problems of Closure in Fortunata y Jacinta: Of Narrators, Readers, and Their Just Deserts/Desserts.” Then she returned to the subject seven years later, still of the opinion that “the question of closure must have seemed an especially thorny one for the author of Fortunata y Jacinta” (Reframing 51). In 1991, José Manuel del Pino brought forth “El Fracaso de los sistemas de cierre de Fortunata y Jacinta.” Similarly with Tristana, from “Clarín” and Pardo Bazán to the present day, critics have been likewise engaged.1 For example, Berkowitz says that Galdós’s Tristana is “the unfinished opus of his repertory” (314), and Roberto Sánchez opines that “the novel is somehow truncated, unrealized” (125). More recently, Andrés Zamora has summarized such opinions as these when he says, “[L]a novela ha sido traditional y sistemáticamente considerada por un amplio sector de la crítica como defectuosa, coja o manca” (193). Thus one is justified in asking why Galdós concluded Tristana the way he did; and, importantly, what—if anything—does this allow one to extrapolate from the ending of the novel concerning the author’s view of women’s aspirations in late nineteenth-century Spain? In addition, what are we to make of the ending of Fortunata y Jacinta? Why should such a great novel not devote its final paragraphs to one or the other of the title protagonists, rather than focusing upon the unfortunate fate of poor Maxi Rubín
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