745 research outputs found
Arts for everyone? The distribution of arts lottery funds by region and genre 1995-98
No full textSIGLEAvailable from British Library Document Supply Centre-DSC:DXN040604 / BLDSC - British Library Document Supply CentreGBUnited Kingdo
Reading Ruth : towards a postmodernist, literary and womanist analysis
No full textBibliography: leaves 132-140.This dissertation examines the book of Ruth from a postmodemist, literary and womanist perspective. The main methodology is postmodemist literary criticism, but it employs intertextual and autobiographical approaches as well. Chapter 1 is an exploration of the plot of Ruth and reveals that in order for the end goal of the plot to be achieved "emptiness has to return to fullness." It is shown that Ruth's action (her decision to return with Naomi) is the catalyst that begins the process that ultimately leads to the denouement of the plot. The fact that it is the two women, Ruth and Naomi, who drive the plot forward, indicates that the Book of Ruth is a woman's story. Chapter 2 demonstrates that the significance of narrative time for any literary analysis lies in the fact that the amount of time allowed for the retelling of the events rarely corresponds to the time it took for the events to happen. Since Ruth is a short story, the choice of what to tell, what to omit as well as how long to dwell on details are indeed significant. In other words it is shown that literary time is only spent on those aspects which are crucial for the advancement of the narrative. Since the reader's main goal is to see how the conflicts are resolved, the literary time spent on the resolution of the conflicts is an indication of where the weight of the story needs to lie. In this case, it is certainly with Ruth and Naomi judging from the amount of time spent on dialogues between the two women. They are therefore the ones that contribute to the resolution of the conflicts of the plot. Chapter 3 reveals that in the book of Ruth the narrative voice or the perspective of attitudes, conceptions and worldview are those of a woman. The fact that the book of Ruth is named after a woman; the fact that at the very outset all the males in the story die and it is the women that take over the narrative; the fact that in the end the women of Bethlehem declare that Ruth is better to Naomi than seven sons are just some of the reasons that substantiate the argument that the narrative voice in the book of Ruth was that of a woman. It is also shown that this narrative voice (whether overt or covert) subverts gender and ethnic expectations. Chapter 4 outlines the way in which biblical characters are portrayed. The subsections of chapter 4 deal with the characterisation of each major character: Naomi, Boaz, and Ruth. Chapter 4 is the longest chapter since it is difficult to evaluate characterisation without engaging the other facets of literary criticism as well, such as plot and dialogue
Representation of an “Angel in the House” and “Fallen Woman” in Elizabeth Gaskell’ s Ruth
No full textSince a woman in Victorian England was expected to be a manager of household, there was a stereotype of Victorian woman called the “angel in the house”. There was also another stereotype of Victorian woman called “fallen woman”. As literature represents life, woman’s roles and stereotypes in Victorian are also reflected in Elizabeth Gaskell’s Ruth. The objectives of this study are to describe the representation of angel in the house and fallen woman in this novel and to describe social perspective and how the fallen character struggle to face and overcome the social construction surrounding her. The study employs library research and sociological approach to analyze Victorian woman’s roles and the stereotypes. It analyzes the character, conflict and setting that brings the study to the analysis of Victorian woman’s roles in this novel. From the analysis, it can be concluded that there are woman’s roles performed by female characters in this novel that is “angel in the house” and “fallen woman”. Ruth, as the main character, performs both images. She performs “angel in the house” when she becomes a governess. Beside that, she falls into fallen woman because of her naivete and her innocence. However, as fallen woman, she succeeds to struggle to get her position in society and becomes an honorable woman even though she has to die in the end of the novel
Supplemental Material - Patient and multidisciplinary health professional perceptions of an Australian geriatric evaluation and management and rehabilitation hospital in the home service
No full textSupplemental Material for Patient and multidisciplinary health professional perceptions of an Australian geriatric evaluation and management and rehabilitation hospital in the home service by Ruth Cox, Greg Kyle, Anya Suzuki, Laurelie Wishart, Melissa McCusker, Alexander McConnell, Elizabeth C Ward, Leo Ross, and Clare Webb in Journal of Health Services Research & Policy.</p
The works of Mary Birkett Card 1774-1817 originally collected by her son Nathaniel Card in 1834: an edited transcription with an introduction to her life and works in two volumes
No full textThis thesis makes available the writings of Mary Birkett Card, a Dublin Quaker,
as collected by her son Nathaniel Card in 1834. It provides an annotated
transcription of the manuscript collection, with textual and editorial notes, and
an introduction recovering her life within her cultural community. The writings
consist of a spiritual autobiography, 43 religious letters, other prose pieces and
over 220 poems. Two poems were published in her lifetime: A Poem on the
African Slave Trade (1792) and Lines to the Memory of our Late Esteemed and
Justly Valued Friend Joseph Williams (1807).
The introduction is in three parts. Part 1 offers a biographical outline and sets
Mary Birkett Card's childhood poems in the context of the Quaker community in
which she grew up. Part 2 explores her autobiography, questioning concepts
of a separate female autobiographical tradition. It then investigates her
encounter with 'deist' thought, and later conflicts, after her marriage. These
concern money (seeking to reconcile the spiritual and material) and issues of
language and gender (a desire for'a pure language', linked to constraints upon
women's speech). Part 3 contrasts her 1790s verse with her later poems, and
epistles, arguing that embedded within these works as a whole lies a struggle
with her literary imagination.
Throughout, the writings are set within the context of contemporary literary
forms in poetry, Quaker writing and women's writing. They are considered in
relation to now current critical debates - on public and private spheres,
autobiography, abolitionist verse, women's intimate friendships, domesticity,
philanthropy and sensibility. It is shown that Mary Birkett Card's literary
creativity was intimately connected with her Quakerism, and, moreover, with
attempts to negotiate an ideal of Quaker womanhood. One important aspect is
the challenge her work poses to assumptions, still generally prevalent, about
Quaker women's far greater autonomy within marriage in comparison to
women in society at large
Union in Obscurity: Ruth Burrows’ Contributions to Developments in Mystical Theology
No full textThis thesis seeks to support and synthesize the claims of Carmelite Nun and contemporary author, Ruth Burrows. Across her writings, Burrows contends that a lack of flowering of the mystical life in the Church today results from a false typification of mysticism as both linear and bench-marked by sensible signs. Burrows argues this imbalanced view has stunted the spiritual growth of many, due to false expectations and discouragement. Rather, Burrows asserts that the normative experience of Divine Union is given both obscurely and intangibly (“light off”), whereas the sensible and conventional sense of mysticism is both rare and didactic in purpose (“light on”). Burrows’ arguments are evaluated chiefly in dialogue with St. Thomas Aquinas and St. John of the Cross. Burrows’ case for a didactic “Light On” mysticism is best understood as gratia gratis data, specifically as an expression of the prophetic charism. “Light Off” is explored through a closer examination of St. John of the Cross’s writings, where a reconsideration of sensate imagery in light of his doctrine of obscure faith reveals a mystical marriage more in support of Burrows’ conception. This claim is further strengthened when compared with St. Thomas Aquinas’ treatise on faith. An incarnational case for the two modes of mystical life is made through an analysis of St. Elizabeth of the Trinity (“Light on”) and St. Therese of Lisieux (“Light off”). Burrows’ theology stands the test of scrutiny, though not without limitations: research remains to be done on the function of the Gifts and Fruits of the Holy Spirit in Burrows’ mystical theology. Additionally, when pushed to its furthest limits, Burrows’ commitment to obscure union risks a radical disjunct between the perceiver (the soul) and the object perceived (God Himself). Nonetheless, should spiritual theology undergo a ressourcement as did systematic and moral theology, the theology of Ruth Burrows offer important contributions
The angel, the martyr and the whore: Elizabeth Gaskell´s female trinity
No full textOs dois romances mais polémicos de Elizabeth Gaskell, Mary Barton e Ruth, giram em torno de personagens femininas que representam, respectivamente, a plena aceitação e a recusa incipiente do senso comum vitoriano. Em Mary Barton, dois estereótipos coexistem: a mulher-anjo (Mary) e a prostituta (Ester). O romance retrata os perigos trazidos pela independência económica e laboral para as jovens trabalhadoras fabris, bem como a degeneração até à morte a que todas as mulheres ‘caídas’ estão condenadas. Mas, por vezes, ambos os estereótipos parecem coincidir num só personagem, criando um ser humano real, em vez de um simples dispositivo didáctico. A discreta revolução de Gaskell surgirá em Ruth, com o seu incómodo exercício de solidariedade para com as mulheres abandonadas e as mães solteiras. O destino de Ruth teria sido em tudo semelhante ao de Ester, se Elizabeth Gaskell não tivesse tido a coragem generosa de subverter as regras. Ruth ‘peca’, mas o seu percurso até à morte redentora não é de vício e degeneração, mas sim de penitência e virtude. Mostrando sem questionar, a autora expressa o conflito entre a natureza humana e as regras sociais, que no entanto ainda saem vencedorasElizabeth Gaskell’s two most controversial novels, Mary Barton and Ruth, focus on female characters who represent, respectively, the full acceptance and the incipient refusal of Victorian common sense. In Mary Barton, two stereotypes coexist: the woman-angel (Mary) and the whore (Esther). The novel depicts the dangers brought by economic Independence and factory labour to young female workers, as well as the degeneration until death to which all “fallen women” are doomed. But, sometimes, both kinds of women seem to coincide in a sole character, creating a real human being instead of a mere didactic device. Gaskell’s soft revolution will rise in Ruth, with her unwelcome sympathy for the abandoned women and single-mothers. Ruth’s destiny would have been similar to Esther’s if Elizabeth Gaskell hadn’t had the generous courage of subverting the rules. Ruth ‘sins’, but her route until the redeeming death is not one of vice and degeneration, but one of penance and virtue. Showing without solving, the author voices the conflict between human nature and social rules...which nevertheless are still the winners.info:eu-repo/semantics/publishedVersio
UA98/2 Grade Book
No full textLedger book arranged alphabetically by student. Indicates year in school, class and examination grades, attendance, deportment and housekeeping of room. Amos, Lutie Andrews, Kate Arnold, Les Barr, Corinne Blake, Cliftine Bolton, Elizabeth Bottom, Sarah Brite, Frances Bryan, Helen Buchanan, Clara Buchanan, Pauline Buckberry, Edith Bunker, Lydia Camak, Gerster Carr, Blanche Cherry, Eunice Cole, Nellie Coover, Janie Coover, Kate Crosson, Hazel Crowe, Lucile Dickerson, Clyde Dorsey, Josie Dulaney, Lena Duncan, Elizabeth Eastland, May Ederington, May Eva Epler, Clara Falcenor, Mary Foster, Willia Gaberon(?), Marie Gardner, Jessie Gatling, Elizabeth George, Betty Hagan, Alice Hagan, Burris Hagan, Nell Hall, Bertha Hancock, Elizabeth Hanes, Lula Harkness, Maria Hensley, Bessie Hobson, Margaret Hogan, Marie Honser, Bertram Hosrsley, Bessie Huffines, Ethel Huffines, Inez Huffner, Mabel Hughes, Mary James, Virginia Lewis, Lena Lissington, Ethel Lormon, Mary Lynch, Mabel Lynch, Ruth Marshall, Charlotte Maxwell, Blanche Maxwell, Myrtle McCraken, Frances McCucheon, Mai McGinnis, Elsa McGregor, Neva McKee, Annie Mercer, Mable Miller, Lula Miller, Marjorie Milling, Ida Mix, Elizabeth Moore, Lilah Moore, Louise Munckle, Corinne Myers, Willie Nathcher, Annie Palfrey, Minna Parkman, Marie Patterson, Lottie Patterson, Maggie Perryman, Cornelia Pickering, Louise Porter, Jessie Porter, Ruth Potter, Sue Redmond, Ethel Rennick, Bernice Richeson, Helen Roberts, Lida Roberts, Lula Ruggles, Juliet Russell, Willie Sanders, Nora Sharpe, Calla Sheddon, Frances Sherrel, Gladys Shobe, Patsy Simmons, Sarah Simms, Edna Smith, Mary Smith, Mary Lee Smith, Mildred Spaulding, Annie Steele, Adele Steele, Mrs. Stevens, India Taft, Bessie Tissington, Ethel Tucker, Norma Walker, Iva Washburn, Mary Webb, Ruth Wells, Elma Willis, Effie Wilson, Bessie Wilson, Louise Winde, Ouid
‘A View You Won’t Get Anywhere Else’? Depressed Mothers, Public Regulation and ‘Private’ Narrative.
No full text1976-1977 Cleaning Staff 1
No full textThese Jacksonville State University staff were cleaning members in 1976-1977. Shown from left are, first row, Bertie Bailey, Ovada McCurry, Mildred Beaird, Josephine Wilson, Viola Hudgins, Maude Whaley, Hasseline Harris, Elizabeth Johnson, Jeannette Benefield, Evelyn Snider, second row, Imogene Stracner, Grace Williams, Lessie Mae Brown, Oma Brock, Louise Bailey, Louise Nelson, Ozelle Hughes, Vernie Hill, Minnie Patterson, Naomi Hulsey, Alma Brown, Thelma Parris, third row, Ella Parris, Amanda Parris, Margie McGinnis, Evelyn Maddox, Christine Webb, Addie Coppock, Barbara Gunnels, fourth row, Lucille Beck, Frances Lackridge, Savannah Parris, Gladys Beal, Gladys Hulsey, Ruth E. Buse, Leomey Jackson, Barbara Phillips, Eva Webb, Clara Parris.https://digitalcommons.jsu.edu/lib_ac_histimg_1970/5220/thumbnail.jp
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