Classics Newsletter Design USA Joanna Mcclean Please Make Check Payable to Stanford University

Total Page:16

File Type:pdf, Size:1020Kb

Load more

F ALL 2011 STANFORD UNIVERSITY DEPARTMENT of Classicslassics NEWSLETTER 2011 Faculty and Staff List . 2 From the Chair Visitors . 3 WO EVENTS provided pleasing we believe every Stanford undergraduate Human History . 4 bookends to our 2010-11 academic should take at least one Classics course year. First, in September, a long- before receiving a degree. Here let me Commencement . 5 Tawaited study by the National Research note that this year we have further in- Events . 6 Council rated Stanford’s graduate program creased our efforts to reach undergradu- Eitner Lecture . 7 in Classics the best in the country. The NRC ates through exciting new courses, an ini- Teaching Classics . 8 based its results on a combination of rep- tiative spearheaded by our department utational scores (how other Classicists manager and our student services spe- Faculty News . 10 view us) and more quantifiable cialist. Let me mention, too, Undergraduate Student Stories . 14 criteria, suchC as numberl of pub-assithat featuredcs articles in this is- Mapping the Grand Tour . 16-18 lications per faculty member,DEPARTMENTsue of the newsletter highlight Graduate Student Stories . 22 awards and outside grants to fac- some of our recent innovations ulty, the time it takes students to in teaching. Alumni News . 26 obtain the Ph.D., how well they Many other factors have Graduate Student News . 28 are financially supported while come into play in developing Summer Theater . .30 at Stanford, and how many of and maintaining our top-ranked them end up obtaining academic SCIT . 30 program: a spacious and cen- jobs. (Further details can be tral building; an ethos of colle- found on our website.) Then, in MAPPING THE RICHARD MARTIN giality, friendliness, and acces- May, undergraduate director GRAND TOUR sibility; plenty of socializing all Maud Gleason announced that the latest PAGE 16 year, with attendant free food; staging an student to declare a major in Classics had international conference or two; well-cho- brought the combined number of our sen visiting lecturers who interact with majors and minors to 70—a new record. students; informal reading groups and Next goal: 100. workshops; the Classical drama of the Taken together, these indications year put on by Stanford Classics in of vitality suggest to us that we might be Theater; study abroad opportunities dur- doing something right. But asked to com- ing term-time and excavation options in ment on our success—as we have been, the summer (subsidized by Department by admiring deans and others—one strug- funds); one-to-one teaching, advising, and gles to pinpoint a cause (nor do we real- mentoring; an active network of alumni ly want to, for fear of the evil eye… ). and friends; a minimal number of meet- Certainly, foremost among the many in- ings and committees; clear protocols and terlocking aspects of a strong program is high expectations; widespread dissemi- http://classics.stanford.edu the ability to attract and retain world-class nation of all information; and full trans- http://www.facebook.com/stanfordclassics scholars and teachers, who in turn devote parency in all administrative procedures. email: [email protected] themselves to crafting courses that ap- Our superbly dedicated and efficient staff peal to a wide variety of audiences, from is crucial for meshing these multiple Classics Department the most motivated and discriminating pieces together. And from the President Main Quad, Building 110 graduate students down to incoming stu- on down, it helps hugely that Stanford Stanford, CA 94305-2145 dents who have absolutely no background (650) 723-0479 in the field. As for the latter, by the way, CONTINUED ON –PAGE 2 FROM THE CHAIR —FROM PAGE 1 by Lindsay and Peter Joost and given this Giovanna Ceserani, newly tenured this year by John Ma of Corpus Christi College, past spring, has agreed to head Under- proudly commits itself to education in the Oxford. His thoughts on the multiple con- graduate Studies, giving Maud Gleason a humanities—even though departments structions of the ancient Greek city-state well-deserved break from those consider- like ours don’t normally generate patents. kicked off continuing discussions on the able duties. Maud and Jen have given of Such a confluence of good energies is meanings of and necessity for civic life— their time, expertise, and pure humane rare; we are extremely lucky. subjects not irrelevant to the diagnosis of concern generously and without stint— our present political situation. The same Maud for five years, and Jen for three, As difficult as identifying a prime topic, in a rather different light, came up while she was also heading up the Stan- cause for the program’s health is any in the May production of an Aristophanic ford Archaeology Center. Theirs will be effort to name a single high point from comedy by the now-veteran Stanford Clas- hard acts to follow, and I am grateful to the past year, during which I served as sics in Theater (SCIT) troupe. Their hilar- Grant and Giovanna for taking up the chal- interim chair while Walter Scheidel took iously over-the-top version of Wasps (a lenge. I must also make special mention well-deserved time away to teach in New play many of the cast happened to be of the omni-competent administrative staff York and Abu Dhabi. Commencement, reading at the same time in a graduate that has made our Department the envy however, is always a wonderful moment. Greek seminar) featured, among other of the School of Humanities and Sciences: It was fascinating to hear from our majors thespian delights, a clutch of singing and our department manager Ryan Johnson, this June about their plans for the imme- dancing Mama Grizzlies to replace the our administrative associate and general diate future, from Hollywood script-writ- cranky-old-guy jurors of the original—and coordinator Margo Keeley, and our student ing to consulting work, advanced study it worked! I was also pleased to observe services officer Lori Lynn Taniguchi. With- in forestry science, and graduate school that the producers had found a dramatic out them a Chair could not survive. in ancient philosophy (just a small glimpse use for my cast-off pirate costume… of the broad horizons open to those with a Classics background). The full list of stu- We began the new academic year dents who took their degrees can be (2011-12) with a change of Directors: Grant found on p. 5. Another high point was the Parker has taken over from Jen Trimble the RichardRichard P. Martin, Martin Chair annual Eitner Lecture, generously funded task of managing Graduate Studies, while 2010-2011 Classics Department Faculty and Staff EMERITI: PROFESSORS: ASSOCIATE PROFESSORS: LECTURERS: Mark Edwards Alessandro Barchiesi Giovanna Ceserani Maud Gleason Marsh McCall, Jr. Andrew Devine Jody Maxmin John Klopacz (Recalled for 2011-12) Richard Martin Grant Parker Edward Spofford Ian Morris Jennifer Trimble RESEARCH SCHOLAR: Susan Treggiari Reviel Netz Adrienne Mayor Michael Wigodsky Andrea Nightingale COURTESY PROFESSORS: Josiah Ober Chris Bobonich ADMINISTRATIVE STAFF: CHAIR: Anastasia-Erasmia Peponi Ian Hodder Ryan Johnson (Department Walter Scheidel Rush Rehm Bissera Pentcheva Manager) Richard Saller (Dean, Caroline Winterer Lori Lynn Taniguchi (Student DIRECTOR OF Humanities & Sciences) Yiqun Zhou Services Officer) GRADUATE STUDIES: Walter Scheidel Margo Keeley (Administra- Grant Parker Michael Shanks tive Associate) Susan Stephens DIRECTOR OF UNDERGRADUATE STUDIES: Giovanna Ceserani S T ANFORD UNIVERSITY 2 Visiting Faculty Emily Gowers Visiting Professor and Webster Distinguished Lecturer, Autumn 2011 EMILY GOWERS is Senior Lec- Satires I is forthcoming with Cam- turer in Classics at the University of bridge University Press. She has pub- Peter O’Connell Cambridge and a Fellow of St. John’s lished widely on Latin authors—Ter- College. Her first book, The Loaded ence, Horace, Virgil, Ovid, Valerius Mellon Fellow in Table: Representations of Food in Maximus, Columella, Persius, Roman Literature (Oxford 1993) won Apuleius—and on aspects of Roman the Humanities the Premio Langhe Ceretto and was culture from sewers to horticulture, translated into Italian. She co-edited symbolic trees, and emperors’ retreats. Ennius Perennis: The Annals and She is currently working on the figure Beyond (Cambridge Classical Journal of Maecenas as a key to understand- Supplement 2007) with William ing Augustan culture, the topic of her Fitzgerald. A commentary on Horace’s graduate seminar at Stanford. Laura Jansen Visiting Assistant Professor O’CONNELL LAURA is delighted to join the Classics faculty this year and to have PETER O’CONNELL received his the opportunity to research and teach bachelor’s and doctoral degrees from in such a wonderful place as Stanford. Harvard and an M.Phil. degree from She spent the last four years in St. the University of Cambridge, where Andrews, Scotland, as a Teaching Fel- he was a Frank Knox Fellow. His inter- low in Latin literature. Laura did grad- ests include Greek prose of all peri- uate work at Oxford before moving to ods, Classical Athenian literature and Trinity College, Dublin, where she com- culture, Greek law, and Greek religion. JANSEN pleted a doctorate in Literae Human- His dissertation discusses the perfor- iores. Roman Literature and Culture, a col- mative effects of the language of lection of essays that explores the sight in Athenian forensic oratory. Laura specializes in the literature interplay between paratexts (e.g. pref- Peter is thrilled to be part of the Stan- of the Roman Republican and Imper- aces, titles, indices, inscriptions, post- ford Classics Department. As a Mel- ial periods, and her research focuses scripts) and reading from a post- lon Fellow, he will teach a course on particularly on textuality and the cul- Genettean perspective. Her work has Lysias and Antiphon in the fall and tures of reading and writing.
Recommended publications
  • David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf

    David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf

    FREE DAVID HARE PLAYS 1: SLAG; TEETH N SMILES; KNUCKLE; LICKING HITLER; PLENTY PDF David Hare | 496 pages | 01 Apr 1996 | FABER & FABER | 9780571177417 | English | London, United Kingdom David Hare Plays 1 | Faber & Faber Plenty is a play by David Harefirst performed inabout British post-war disillusion. The inspiration for Plenty came from the fact that 75 per cent of the women engaged in wartime SOE operations divorced in the immediate post-war years; the title is derived from the idea that the post-war era would be a time of "plenty", which proved untrue for most of England. The play premiered Off-Broadway on 21 Octoberat the Public Theaterwhere it ran for 45 performances. Plenty was revived at Chichester inin the Festival Theatre between June. Susan Traherne, a former secret agent, is a woman conflicted by the contrast between her past, exciting triumphs and her present, more ordinary David Hare Plays 1: Slag; Teeth n Smiles; Knuckle; Licking Hitler; Plenty. However, she regrets the mundane nature of her present life, as the increasingly depressed wife of a diplomat whose career she has destroyed. Susan Traherne's story is told in a non-linear chronologyalternating between her wartime and post-wartime lives, illustrating how youthful dreams rarely are realised and how a person's personal life can affect the outside world. Sources: Playbill; [3] Lortel [2]. From Wikipedia, the free encyclopedia. Official London Theatre Guide. Archived from the original on 18 January Retrieved 4 December BBC News. Archived from the original on 27 February Retrieved 5 May CS1 maint: archived copy as title link sheffieldtheatres.
  • Volcano House Register Volume 2

    Volcano House Register Volume 2

    Haw VolcanoesNa al Park National Service Park The Volcano House Register, Volume 2 1873-1885 In this volume, on almost every page, there are entries in which a writer merely gives his name, date, times of arrival and departure, and destination. In the other volumes, whenever this occurs, I mention that I omitted such an entry, and give the page number. But because there are so many such entries in this particular volume, it would become tedious both for the transcriber to record and the reader to read every case of such omission; so I am doing it once only, here at the beginning of the document. On the page facing page 1, there is a rough table of contents, listing the page numbers of various maps and signatures of Kalakaua, Louis Pasteur, etc. In addition, there is a poem: Index Some good Some mediocre And much rotten For the Lord's sake Don't write unless You have somethingHawai'i Volcanoes Park To say & can say it. National Park Ser no signature and no date Between 11 and 12 last night Mokuaweoweo started action again. The wind has been from the southward, and the whole day a dense body of smoke has been passing over Kilauea and across Puna, off to sea. Evidently a much greater portion of the crater is in action than in the eruption of August last. Had a heavy thunder shower about dusk with hail and this evening there is considerable lightning. Weather hazy and top of mountain seldom visible. Kilauea quite active but no lava flowing.
  • The Plays of David Hare Carol Homden Excerpt More Information

    Cambridge University Press 978-0-521-41715-0 - The Plays of David Hare Carol Homden Excerpt More information Introduction: a statement of departure David Hare's production of King Lear opened in the Olivier Theatre on 14 December 1986 just two weeks after the end of the run of Pravda, and while The Bay at Nice and Wrecked Eggs contin- ued on the Cottesloe stage. In the autumn of 1993, Hare's trilogy on British institutions was scheduled to be performed on a single day. Such domination of the National Theatre is unparalleled in its history, and has no equivalent by a contemporary writer at the Royal Shakespeare Company; it amounts to much more than a res- idency of the kind Hare had at the Royal Court (1969-71) or Nottingham (1973) and assigns to him a privileged position within British theatre. Such status is particularly rare for a dramatist of his generation writing from a 'socialist' perspective and yet, in contrast to many of his contemporaries, Hare's work stands without any comprehen- sive study. The omission is partly explained by Hare's own deliber- ately enigmatic position, but he is also a troublesome and often troubled writer who uses his work as a way of resolving internal tensions, making systematic analysis particularly difficult. Any attempt to provide such a survey of a living and still fertile writer will inevitably be superseded, but Hare will continue to raise two eternal literary and historical problems. How do you find a critical distance on a writer whose existing plays are part of an evolving and uncompleted body of work? And since those works are them- selves an examination of the flux of contemporary experience, how do you find a distance on your own life and times? The answer to the first question has traditionally lain in compar- ison, by looking at Hare in relation to his peer group, and it is this approach which is taken by most existing critical work.
  • The Judas Kiss Directed by Michael Michetti

    The Judas Kiss Directed by Michael Michetti

    Contact: Niki Blumberg, Tim Choy 323-954-7510 [email protected], [email protected] Boston Court Pasadena presents David Hare’s The Judas Kiss Directed by Michael Michetti February 15 – March 24 Press Opening: February 23 2019 Theatre Season Sponsored by the S. Mark Taper Foundation PASADENA, CA (January 17, 2019) — Boston Court Pasadena commences the 2019 theatre season with a rare production of David Hare’s The Judas Kiss (February 15 – March 24), which tells the story of Oscar Wilde’s love for Lord Alfred “Bosie” Douglas – and tracking his downfall as he endures a brutal trial and life in exile. Helmed by Artistic Director Michael Michetti, the play examines a literary icon who continues to hold onto his passionate ideals of love and beauty as his life crumbles around him. Sir David Hare, the British playwright behind Plenty, Skylight, and Stuff Happens creates “an emotionally rich drama illuminated by Hare’s customary insight and humanity.” (The Globe and MaiI). The Judas Kiss features Rob Nagle (Oscar Wilde), Colin Bates (Lord Alfred “Bosie” Douglas), Darius De La Cruz (Robert Ross), Will Dixon (Sandy Moffatt), Matthew Campbell Dowling (Arthur Wellesley), Mara Klein (Phoebe Cane) and Kurt Kanazawa (Galileo Masconi). In spring of 1895, Oscar Wilde was larger than life. His masterpiece, The Importance of Being Earnest, was a hit in the West End and he was the toast of London. Yet by summer he was serving two years in prison for gross indecency. Punished for “the love that dare not speak its name,” Wilde remained devoted to his beloved, Lord Alfred “Bosie” Douglas.
  • Study Guide Prepared by Maren Robinson, Dramaturg

    Study Guide Prepared by Maren Robinson, Dramaturg

    By Howard Brenton & David Hare Study Guide Prepared by Maren Robinson, dramaturg Pravda Study Guide Table of Contents Page 3 Political Playwrights Page 4 Newspaper Ownership and Editorship Page 6 The Newspaper, Magazine and Television Holdings of Major Media Corporations Page 9 History of the Soviet Newspaper Pravda Page 10 A Comparison of Time Magazine and Pravda New Stories Page 11 Margaret Thatcher and Thatcherism Page 12 History of the Falkland Islands War Page 15 History of the 1984 Coal Miners’ Strike Page 17 Discussion Questions Page 18 Bibliography Page 19 Internet Resources TimeLine Theatre Company 2 2/05 timelinetheatre.com Democratic Laughter: Political Playwrights Howard Brenton and David Hare “As a joke between ourselves, to keep our spirits up during writing, we said, ‘We’re writing this play to stop people reading newspapers.’” – Howard Brenton on writing Pravda with David Hare “The kind of comedy we tried to write is one, we hope, of democratic laughter. The audience are invited to dissociate themselves from the tiny clique of the ruling class paraded across the stage.” – Howard Brenton on writing Pravda with David Hare Both Howard Brenton and David Hare have, at times, been called “political playwrights.” While the phrase “political playwrights” is loaded with potential positive and negative connotations, there is no doubt that being political in their plays is something both men have never avoided. Both are members of the same generation. Brenton was born in 1942, Hare in 1947. Both began writing for fringe theaters that were interested in satire and social change. However, in 1974, Brenton said, “the fringe has failed .
  • Alien Nation: David Hare's History Plays

    Alien Nation: David Hare's History Plays

    Alien Nation: David Hare's History Plays A thesis submitted in partial fulfIlment of the requirements for the Degree of Doctor of Philosophy in the University of Canterbury by Stephen Coates University of Canterbury 1989 Abstract This thesis will examine seven plays by David Hare, which together constitute a social history of Britain since the Second World War. Hare's main project is to demonstrate to the members of his audience, most of whom will be "middle class;"· that they are psychologically damaged by the capitalist-patriarchal system. The ideological fictions which have evolved to justify the existing structure of society and to discourage the oppressed from challenging that structure create psychological contradictions which cannot be resolved without radical social change. The middle classes are suffering from alienation no less than the oppressed, even though they may not be aware of it, and the loss of their privileged economic and political positions would be a small price to pay for the greater happiness which would accompany the removal of these contradictions. The history plays are therefore an attempt to create a counter-hegemony, by undermining established myths about the nature of contemporary British society. Chapter 1 provides brief accounts of British political theatre since the 1960s and the origins of Western Marxism. It also introduces the Marxist concepts of alienation, ideology and hegemony (in particular, the theories of Antonio Gramsci and Herbert Marcuse), relating them to the oppression of women as well as the oppression of classes. Chapters 2-8 examine the plays separately in the light of these concepts, with different emphases determined by the content of the plays.
  • By Bertolt Brecht Translated by David Hare

    By Bertolt Brecht Translated by David Hare

    By Bertolt Brecht Translated by David Hare Theatre at UBC Presents By Bertolt Brecht Translated by David Hare March 8 to 17, 2007 Frederic Wood Theatre Directed by Camyar Chai Set Design by Rachel E. Stanners Lighting Design by Chris Littman Costume Design by Alison Green & Mavis Lui Original Songs & Sound Design by Patrick Pennefather BERTOLT BRECHT a biography read Das Kapital and befriended Later, in Switzerland where Moth- Karl Korsch, a prominent Commu- er Courage had premiered in 1941, The first child of Friedrich Brecht, nist thinker and theoretician who he resumed his work, setting down chief clerk in a paper factory, and taught him the essential principles his thoughts, observations and Wilhelmine Friederike Sophie of Marxism. theories in A Short Organum for Brezing, the daughter of a civil the Theatre, which influenced the- servant, Eugen Berthold Friedrich The burning of the Reichstag took atremakers all over the world. Brecht was born on February 10, place on February 27, 1933. The 1898 in the medieval city of Augs- next day, Brecht and his family In 1948, having been refused entry burg, Germany. A sickly child with fled to Vienna and later Denmark. into the American zone of occupied a congenital heart condition, he The Nazis revoked his German Germany, Brecht and Weigel went suffered a heart attack at age 12. citizenship in 1935 and burned his to the Soviet sector of Berlin. On He soon recovered and continued books. January 11, 1949, he directed his his Latin, history and humanities own production of Mother Courage education in private school, where Fearing mounting pressure on at the Deutsches Theatre with He- he co-founded and co-edited a mag- Denmark to extradite him to Ger- lene Weigel in the title role.
  • GCE AS / a LEVEL the ABSENCE of WAR by DAVID HARE

    GCE AS / a LEVEL the ABSENCE of WAR by DAVID HARE

    GCE AS / A LEVEL THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR DAVID HARE GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR – DAVID HARE ‘Britain’s leading contemporary playwright’ - The Times ‘The Absence of War’ is the final play in a trilogy looking at the state of Britain in the early 1990s. The three plays examine institutions within Britain and the effects of a Conservative Government on these institutions. The first play ‘Racing Demon’ (1990) examined the Church of England The second play ‘Murmuring Judge’ (1991) examined the judicial system. The third play ‘The Absence of War’ (1993) examined the world of politics. DAVID HARE Hare has been a prolific playwright since the 1960s. He was born in 1947 and grew up in the fervent atmosphere of the 1960s. He has a great interest in films and this has influenced his writing technique. He co-founded Portable Theatre Company, acting, directing and writing plays. Slag was first produced in London in 1970 at the Hampstead Theatre Club. He was Resident Dramatist at the Royal Court Theatre in London in 1970-1 and Resident Dramatist at the Nottingham Playhouse in 1973. He co-founded Joint Stock Theatre Group with David Aukin and Max Stafford-Clark in 1975, and held a US/UK Bicentennial Fellowship in 1977. GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE His plays include: Knuckle (1974), winner of the Mail on Sunday John Llewellyn Rhys Prize Fanshen (1975), based on the book by William Hinton Plenty (1978), a portrait of
  • David Hare Plays 1: Slag; Teeth 'N' Smiles; Knuckle; Licking Hitler; Plenty Online

    David Hare Plays 1: Slag; Teeth 'N' Smiles; Knuckle; Licking Hitler; Plenty Online

    j1Zfo [E-BOOK] David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty Online [j1Zfo.ebook] David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty Pdf Free David Hare *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #1066431 in eBooks 2013-04-04 2013-04-04File Name: B00CCTWVCC | File size: 30.Mb David Hare : David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty before purchasing it in order to gage whether or not it would be worth my time, and all praised David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty: 0 of 0 people found the following review helpful. Ladies in CollegeBy Michele ColmerI loved acting one of his plays out in a mock theatrical casting interview. Such womanly defiant words of delivery. This first volume of David Hare's plays contains his work from the 1970s, including his landmark play of that decade, Plenty, charting the development of 'one of the great post-war British playwrights' (Independent on Sunday).The volume also includes the plays Slag, Teeth 'n' Smiles, Knuckle and Licking Hitler, and is introduced by the author. “An embattled contemporary morality play full of sardonic fun and spiky indignation...What an enviable debut: funny, intelligent and briskly honest.” ?Sunday Times on Slag“The writing is bright with aggression...a flintily intelligent play.” ?The Times on Teeth 'n' Smiles“I beg all lovers of the theatre, and all those concerned for its future, to see Knuckle.” ?Sunday Telegraph on Knuckle“Beginning with a middle-class young woman's unceremonious introduction to specialized war work, it develops with a devastating economy of means into a dramatization of the unarguable logic of deception...elegant, spare and as lucid as crystal.” ?Observer on Licking Hitler“Brilliant...it deepens with every viewing.” ?Mel Gussow, New York Times on PlentyAbout the AuthorDavid Hare was born in Sussex, England in 1947.
  • Gender, Nature and Dominance: an Analysis of Interconnections Between Patriarchy and Anthroparchy, Using Examples of Meat and Pornography

    Gender, Nature and Dominance: an Analysis of Interconnections Between Patriarchy and Anthroparchy, Using Examples of Meat and Pornography

    GENDER, NATURE AND DOMINANCE: AN ANALYSIS OF INTERCONNECTIONS BETWEEN PATRIARCHY AND ANTHROPARCHY, USING EXAMPLES OF MEAT AND PORNOGRAPHY ERIKA CUDWORTH Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Sociology and Social Policy March 1998 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. CONTENTS INTRODUCTION 1 CHAPTER ONE: ANTHROPARCHY AND HUMAN-ANIMAL RELATIONS IN GREEN THEORY Introduction........................................................................................................................13 Sociology and the Environment......................................................................................... 15 Social ecology...................................................................................................................... 25 Deep ecology.......................................................................................................................30 From anthropocentrism to anthroparchy............................................................................ 35 Eco-feminism.....................................................................................................................36 Anthroparchy and the control of non-human animals......................................................... 40 Conclusion................ ..........................................................................................................44
  • The Representation of the Feminine, Feminist and Musical Subject in Popular Music Culture

    The Representation of the Feminine, Feminist and Musical Subject in Popular Music Culture

    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2001 The eprr esentation of the feminine, feminist and musical subject in popular music culture Emma Mayhew University of Wollongong Recommended Citation Mayhew, Emma, The er presentation of the feminine, feminist and musical subject in popular music culture, Doctor of Philosophy thesis, Faculty of Arts, University of Wollongong, 2001. http://ro.uow.edu.au/theses/1743 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE REPRESENTATION OF THE FEMININE, FEMINIST AND MUSICAL SUBJECT IN POPULAR MUSIC CULTURE A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy from UNIVERSITY OF WOLLONONG By EMMA MAYEW B.A. (Hons) ARTS FACULTY 2001 CERTIFICATION I, Emma Mayhew, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy, at the University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Emma Mayhew 18 August 2001 CHAPTER TWO FEMINIST POSTSTRUCTURALISM, THE POPULAR MUSICAL TEXT AND THE AUDIENCE - THEORETICAL DEBATES 58 Introduction 58 General Concepts and Debates 58 Discourse, Power and Agency 62 Patriarchy and Power 72 Theorising Music as Social Text 74 Musical Discourses
  • Feminism in the Philosophy of Language

    Feminism in the Philosophy of Language

    This paper is copyright Cambridge University Press It is published as a chapter in “The Cambridge Companion to Feminism in Philosophy” edited by M Fricker and J Hornsby. ISBN 0 674 01295 X Feminism in Philosophy of Language: Communicative Speech Acts Jennifer Hornsby Some philosophical work about language and its use has been inspired by feminist agenda, some by malestream philosophical agenda.1 Reading work in these two areas—in feminist-philosophy of language and in philosophy of language, as I shall call them—one easily gets the impression that they are totally separate enterprises. Here I hope to show that the impression is partly due to habits of thought that pervade much analytical philosophy and have done damage in philosophy of language. My claim will be that an idea of communicative speech acts belongs in philosophy of language (§2). I think that the absence of such an idea from malestream accounts of linguistic meaning might be explained by ways of thinking which are arguably characteristically masculine (§3). Once communicative speech acts are in place, various feminist (and other political) themes can be explored (§4). 1. Feminist-Philosophy of Language and Philosophy of Language Language’s relation to gender was at the centre of discussions from the beginning of feminism’s second wave.2 Dale Spender, in a path-breaking book, claimed that ‘males, as the dominant group, have produced language, thought and reality’.2a Some feminists refused to share Spender’s pessimism, and questioned whether language could be the powerful controlling influence that Spender represented.2b But a view of language as a vehicle for the perpetuation of women’s subordination was prevalent in the 1980s, even if it was often based upon less radical claims than Spender’s.