DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations RICE UNIVERSITY Material Fictions: Readers and Textuality in the British Novel, 1814-1852 by Duncan Ingraham Haseli A THESIS SUBMITTED EM PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Philosophy AppRavæD, THESIS CPMMITTEE: Robert L. Patten, Lynette S. Autrey Professor in the Humanities, Director Helena Michie, Agnes Cullen Arnold Professor in the Humanities, Professor of and Chair, English Martin Wiener, Mary Gibbs Jones Professor, History HOUSTON, TEXAS JANUARY 2009 UMI Number: 3362239 Copyright 2009 by Hasell, Duncan Ingraham INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform 3362239 Copyright 2009 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 AnnArbor, Ml 48106-1346 Copyright Duncan Ingraham Hasell 2009 ABSTRACT Material Fictions: Readers and Textuality in the British Novel, 1814-1852 by Duncan Ingraham Hasell I argue in the first chapter that the British novel's material textuality, that is the physical features of the texts that carry semantic weight and the multiple forms in which texts are created and distributed, often challenges and subverts present conceptions of the cultural roles of the novel in the nineteenth century. My project looks at how the multiple forms of the novel within nineteenth-century Britain both reflected and sought to change the relations between the novel and its readers. I suggest that different material instantiations of a literary work reveal historical contingencies that are unrecoverable from any one edition by itself. I consider the ways that the material characteristics of the physical document such as paper, size, and typeface, its mode of production, and other materialities, such as price and print run size constrain reading. While no reading is totally constrained by the text, every text represents possible uses of the written word in which we can recognize the constraints or discipline that these texts seek to exercise on their readers. The remaining chapters are a series of case studies that analyze how material textuality affects our understanding of Walter Scott's Waverley, Frederick Marryat's Peter Simple, and W. M. Thackeray's History of Henry Esmond. Table of Contents Chapter I: Material Textuality—What's Past Is Prologue 1 Chapter II: Walter Scott—Refracting History in Waverley 39 Chapter III: Captain Marryat—Nautical Fiction and a Sea Change in the No vel. 117 Chapter IV: W. M. Thackeray—Historical Types in Henry Esmond 153 Coda 178 Endnotes 183 Works Cited 189 Appendix 206 1 Chapter 1 Material Textuality—What's Past Is Prologue Texts are inevitably affected by the physical means of their transmission; the physical features of the artifacts conveying texts therefore play an integral role in the attempt to comprehend those texts. For this reason, the concept of a textual source must involve the attention to the presentation of a text, not simply to the text as a disembodied group of words. All objects purporting to present the same text—whether finished manuscripts, first editions, later printings, or photocopies—are separate records with their own characteristics; they all carry different information, even if the words and punctuation are indeed identical, since each one reflects a different historical moment. Any such record may be a primary source, but an object which is a primary source for one purpose is not necessarily so for another. —"Statement on the Significance of Primary Records" Modern Language Association The Modern Language Association (MLA), it seems safe to say, has been, is now, and will always be against the wanton destruction of books. In 1995 the "Statement on the Significance of Primary Records" cited above was drafted in response to a trend that seemed to be leading inevitably in that direction. Libraries were actively "deaccessioning" or sometimes simply throwing away whole archives of material as they microfilmed and digitized their collections. Overall, the "Statement" acknowledges the 2 importance and advantages of good copies over frail and deteriorating "originals." However, it reflects a radical concept of the material text in its justification of the maintenance of "primary sources," one that argues that all objects presenting a text are significant. No one disputes the significance of records such as manuscripts and first editions, but to most of the general public and to many scholars the significance of later printings is problematic. Most reprinted texts are generally seen as disposable or, at most, worth only the paper they are printed on. Furthermore, later printings are usually seen as more prone to errors in transcription, hence often misleading. One might grant later printings significance for historical purposes—for example, within a study of the history of printing or an analysis of print culture—but one might still argue against these later printings having any literary significance; the ideas a text conveys are important, not the material means of conveyance. However, if one concedes that the physical features of a document, the textual artifact, play an integral role in the ways that a text makes meaning, then this suggests the physical features of texts do have literary significance whether a text is in its first or fiftieth printing. The nineteenth century is the age of the steam-powered press, mechanized paper production, and an exponential increase in the demand for and supply of reading material. This makes the nineteenth century not only the age of the machine press but also the age of the reprint. Certainly texts were reprinted earlier, but this production was limited by inadequate technology, tråde practices, government controls, and the lack of an audience. Texts were reformatted, reprinted, and rereleased on a scale in the nineteenth century that dwarfed all previous print production. Never before in Britain had so many people had 3 the access and the literacy to understand texts as in nineteenth century. In this dissertation I argue that our way of thinking about the novel changes when we consider the material texts of the novel in early- to mid-nineteenth-century Britain and the ways the texts themselves reflect on their own materiality. I consider how texts are "affected by the physical means of their transmission" and how the "physical features of the artifacts conveying texts" function in "the attempt to comprehend those texts." Furthermore, the study and analysis of the physical artifact and the text's relationship to it not only helps in our present-day comprehension of texts but also can reveal much about how texts were comprehended at the time of their release. Evaluating and analyzing the material conditions of the production and reception of the artifact can reveal much about the processes of reading. My conception of material textuality, then, involves two senses of the term and is a modification of the two-part definition proposed by George Bornstein. "Material textuality," writes Bornstein, is the notion of "both the physical features of the text that carry semantic weight and the multiple forms in which texts are created and distributed" (1). First, according to Bornstein, there are all the material aspects of the physical print and paper document itself: paper size, page quantity, paper quality, typography, design, format, binding, illustrations, diagrams, and the multiple variant combinations of these elements that appear in each material expression of the text. In short, anything and everything that might be observed in any single material instantiation of a text. However, Bornstein does not acknowledge that the semantic weight of a particular physical feature may be more in the eye of the beholder than intrinsic to text itself. For instance, is a standard font such as Times New Roman semantically weightless, or does it carry the full 4 burden of submission to convention? I think the answer to this question has to be decided on a case by case basis and that decision needs to take into account the second sense of the material textuality I intend. This second sense of material textuality refers to the "multiple forms in which texts are created and distributed" for Bornstein. He is interested in how the multiple forms of a text relate to each other. I am interested in that and how each multiple form relates to the wider material context of its production and distribution. These multiple material contexts are not only embodied within the material artifact that contains the text, but additionally derived from other historical sources. Information on print runs, prices, and other material aspects of a textual creation and distribution are integral to material textuality but not really a part of any single form of a text. For instance, Waverley by Sir Walter Scott had a list price of eighteen shillings when it was first released. This sales price is not a part of the text. It is not printed anywhere on the first editions of the novel, and it is only to be found in the historical accounts of the novel. Furthermore, in and of itself it does have much to reveal. However, comparing this price with the prices of other novels published at the same time shows how the factor of price may have differentiated Waverley from other novels for its audience. We can make certain connections between the price of a text and its reception when we consider price as an indicator of relative value.
Load more

Recommended publications
  • By the Histories of Sea and Fiction in Its Roar: Fathoming the Generic Development of Indian Sea-Fiction in Amitav Ghosh’S Sea of Poppies
    ISSN 2249-4529 www.pintersociety.com GENERAL ISSUE VOL: 8, No.: 1, SPRING 2018 UGC APPROVED (Sr. No.41623) BLIND PEER REVIEWED About Us: http://pintersociety.com/about/ Editorial Board: http://pintersociety.com/editorial-board/ Submission Guidelines: http://pintersociety.com/submission-guidelines/ Call for Papers: http://pintersociety.com/call-for-papers/ All Open Access articles published by LLILJ are available online, with free access, under the terms of the Creative Commons Attribution Non Commercial License as listed on http://creativecommons.org/licenses/by-nc/4.0/ Individual users are allowed non-commercial re-use, sharing and reproduction of the content in any medium, with proper citation of the original publication in LLILJ. For commercial re-use or republication permission, please contact [email protected] 144 | By the Histories of Sea and Fiction in its Roar: Fathoming the Generic Development of Indian Sea-Fiction in Amitav Ghosh’s Sea of Poppies By the Histories of Sea and Fiction in its Roar: Fathoming the Generic Development of Indian Sea-Fiction in Amitav Ghosh’s Sea of Poppies Smriti Chowdhuri Abstract: Indian literature has betrayed a strange indifference to sea-experience and sea-culture as a subject of literary interest though it cannot overlook the repercussions of sea voyages on Indian social, political and economic conditions specifically after colonization. Consequently, nautical fiction as a category of writing can hardly be traced in the history of Indian literature. Nautical fiction as a substantial body of writing emerged from Anglo-American history of maritime experience. This paper is an attempt to perceive Amitav Ghosh’s novel, Sea of Poppies as an Indian response to the sub-genre.
    [Show full text]
  • Eg Phd, Mphil, Dclinpsychol
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Digging up the Kirkyard: Death, Readership and Nation in the Writings of the Blackwood’s Group 1817-1839. Sarah Sharp PhD in English Literature The University of Edinburgh 2015 2 I certify that this thesis has been composed by me, that the work is entirely my own, and that the work has not been submitted for any other degree or professional qualification except as specified. Sarah Sharp 3 Acknowledgements I would like to thank my supervisor Penny Fielding for her continued support and encouragement throughout this project. I am also grateful for the advice of my secondary supervisor Bob Irvine. I would like to acknowledge the generous support of the Wolfson Foundation for this project. Special thanks are due to my parents, Andrew and Kirsty Sharp, and to my primary sanity–checkers Mohamad Jahanfar and Phoebe Linton.
    [Show full text]
  • View Full Article
    ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 B. The Mashup Genre ....................................................................
    [Show full text]
  • Disfigurement and Disability: Walter Scott's Bodies Fiona Robertson Were I Conscious of Any Thing Peculiar in My Own Moral
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Mary's University Open Research Archive Disfigurement and Disability: Walter Scott’s Bodies Fiona Robertson Were I conscious of any thing peculiar in my own moral character which could render such development [a moral lesson] necessary or useful, I would as readily consent to it as I would bequeath my body to dissection if the operation could tend to point out the nature and the means of curing any peculiar malady.1 This essay considers conflicts of corporeality in Walter Scott’s works, critical reception, and cultural status, drawing on recent scholarship on the physical in the Romantic Period and on considerations of disability in modern and contemporary poetics. Although Scott scholarship has said little about the significance of disability as something reconfigured – or ‘disfigured’ – in his writings, there is an increasing interest in the importance of the body in Scott’s work. This essay offers new directions in interpretation and scholarship by opening up several distinct, though interrelated, aspects of the corporeal in Scott. It seeks to demonstrate how many areas of Scott’s writing – in poetry and prose, and in autobiography – and of Scott’s critical and cultural standing, from Lockhart’s biography to the custodianship of his library at Abbotsford, bear testimony to a legacy of disfigurement and substitution. In the ‘Memoirs’ he began at Ashestiel in April 1808, Scott described himself as having been, in late adolescence, ‘rather disfigured than disabled’ by his lameness.2 Begun at his rented house near Galashiels when he was 36, in the year in which he published his recursive poem Marmion and extended his already considerable fame as a poet, the Ashestiel ‘Memoirs’ were continued in 1810-11 (that is, still before the move to Abbotsford), were revised and augmented in 1826, and ten years later were made public as the first chapter of John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott, Bart.
    [Show full text]
  • Traversing the Nautical Gothic in the Touching and Melancholy Narrative of Marian Moore (1853)
    Dearly Departed, Yet, Returned: Traversing the Nautical Gothic in The Touching and Melancholy Narrative of Marian Moore (1853) Danielle Cofer Abstract: Scholars have explored the genres of Shipwreck narratives, women’s writings about life at sea, and the nautical Gothic. Bringing these fields together in conversation with Marian Moore’s The Touching and Melancholy Narrative of Marian Moore, the Shipwrecked Female Sailor (1853) reveals tensions between horrifying experiences with shipwreck and subsequent cannibalism at sea and life on land for women in the mid-nineteenth century. Moore details her encounters with death throughout, which ultimately prepare her for the prolonged social death she endures once back on land ensnared in class and gender conventions. The irony of Moore’s narrative is that the threat of the sea proves to be far less harrowing than the entrapment of static domesticity. Instead of being the place of danger and death, the sea becomes a source of knowledge and a sanctuary from the true horror of the social conditions Moore contends with back on land. ____________________ Nautical fiction and narratives of sea travel resonated with nineteenth-century American audiences because they carried with them the fulfillment of flights of fantasy and the romance of exploration that could be read from the safety of one’s home. Indeed, “a desire for the physical and mental freedom of open ocean experience” permeates many sea narratives, fulfilling “the blue-water fantasies of men and women who ride ferries or sail yachts alongshore.”1 Yet, even beyond escapism and the promise of experiencing a different lifestyle or landscape amongst the waves and ocean swells, audiences sought much more than just knowledge of a mariner’s or seafarer’s firsthand account of maritime life.
    [Show full text]
  • Sir Walter Scott's Templar Construct
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. SIR WALTER SCOTT’S TEMPLAR CONSTRUCT – A STUDY OF CONTEMPORARY INFLUENCES ON HISTORICAL PERCEPTIONS. A THESIS PRESENTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN HISTORY AT MASSEY UNIVERSITY, EXTRAMURAL, NEW ZEALAND. JANE HELEN WOODGER 2017 1 ABSTRACT Sir Walter Scott was a writer of historical fiction, but how accurate are his portrayals? The novels Ivanhoe and Talisman both feature Templars as the antagonists. Scott’s works display he had a fundamental knowledge of the Order and their fall. However, the novels are fiction, and the accuracy of some of the author’s depictions are questionable. As a result, the novels are more representative of events and thinking of the early nineteenth century than any other period. The main theme in both novels is the importance of unity and illustrating the destructive nature of any division. The protagonists unify under the banner of King Richard and the Templars pursue a course of independence. Scott’s works also helped to formulate notions of Scottish identity, Freemasonry (and their alleged forbearers the Templars) and Victorian behaviours. However, Scott’s image is only one of a long history of Templars featuring in literature over the centuries. Like Scott, the previous renditions of the Templars are more illustrations of the contemporary than historical accounts. One matter for unease in the early 1800s was religion and Catholic Emancipation.
    [Show full text]
  • Walter Scott: a Legend of Montrose ======A Machine-Readable Edition
    Walter Scott: A Legend of Montrose ================================== a machine-readable edition version 1.1: 1995-09-14 ------------------------------------------------------------ <titlepage> A LEGEND OF MONTROSE BY SIR WALTER SCOTT, BART <series title> THE TALES OF MY LANDLORD A LEGEND OF MONTROSE <series epigraph> Hear, Land o' Cakes and brither Scots, From Maidenkirk to Johnny Groats, If there's a hole in a' your coats, I rede ye tent it; A chiel's amang you takin' notes, An' faith he'll prent it!---Burns Ahora bien, dijo el Cura; traedme, senor hu<e'>sped, aquesos libros, que los quiero ver. Que me place, respondi<o'> el; y entrando en su aposent, sac<o'> d<e'>l una maletilla vieja cerrada con una cadenilla, y abri<e'>ndola, hall<o'> en ella tres libros grandes y unos papeles de muy buena letra escritos de mano.---=Don Quixote,= Parte I. capitulo 32. <text> INTRODUCTION TO THE FIRST EDITION. Sergeant More M`Alpin was, during his residence among us, one of the most honoured inhabitants of Gandercleugh. No one thought of disputing his title to the great leathern chair on the ``cosiest side of the chimney,'' in the common room of the Wallace Arms, on a Saturday evening. No less would our sexton, John Duirward, have held it an unlicensed intrusion, to suffer any one to induct himself into the corner of the left-hand pew nearest to the pulpit, which the Sergeant regularly occupied on Sundays. There he sat, his blue invalid uniform brushed with the most scrupulous accuracy. Two medals of merit displayed at his buttonhole, as well as the empty sleeve which should have been occupied by his right arm, bore evidence of his hard and honourable service.
    [Show full text]
  • University^ Microfilms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy or a document sent to us Tor microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. (.The sign or "target” for pages apparently lacking from the document photographed is "Missing Pagc(s)”. If it was possible to obtain the missing pagc(s) or section, they arc spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning" the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If neccssaty, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • A Comparative Analysis of the Medieval Element in the Prose of Sir Walter Scott and John Henry Newman
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1949 A Comparative Analysis of the Medieval Element in the Prose of Sir Walter Scott and John Henry Newman Margaret B. Kearney Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Kearney, Margaret B., "A Comparative Analysis of the Medieval Element in the Prose of Sir Walter Scott and John Henry Newman" (1949). Master's Theses. 767. https://ecommons.luc.edu/luc_theses/767 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1949 Margaret B. Kearney JIIIj. A COMPARATIVE ANALYSIS OF THE MBDIEV AI.. ElEMENT IN THE PROSE OF SIR WALTER SCOTT AND JOHN REh'RY NEWMAN By Margaret B. Kearney A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIHEMENTS FOR THE DEGREE OF MASTER OF ARTS Il~ LOYOLA UNIVERSITY February J949 TABIE OF CONTENTS CHAPTER PAGE I Introduotion • • • • • • • • • • • • • • • • • • • 1 Presentation of the problem - Definition of Medievalimn - Reaotion against Classioism - Soott a pure romantioist rather than a striot medievalist - ~ew.man a late echo of the period. II The Medievalism of Soott and Ne~n As a Natural Outgrowth of Their Environmental and Literary Ute • • • • • • • • • • • • • . • • • • • • • . • 16 Scott: AIloe stry - home and family - Border in­ fluence - early reading habits - diversified education - value derived - influenoe of eighteenth-oentury novelists - as oompared with Ne'Wll18.n: Home and family - early reading habi ts­ Oxford eduoation - influenoe of Oriel Masters - stu~ of early Fathers - Mediterranean voyage - Oxford Movement - R a spiritual awakening of spiritual wants" - personal conclusions.
    [Show full text]
  • View of the Related Literature
    MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Adonica Aria Jones-Parks Candidate for the Degree: Doctor of Education ____________________________________ Dr. Denise Taliaferro Baszile, Dissertation Advisor ____________________________________ Dr Sally Lloyd, Reader ____________________________________ Dr. Ray Terrell, Reader ____________________________________ Dr. Paula Saine, Graduate School Representative ABSTRACT SPEAKING HIS MIND: COUNTERSTORIES ON RACE, SCHOOLING, AND THE ALIENATION OF AFRICAN-AMERICAN MALES by Adonica Aria Jones-Parks The primary purpose of this study is to examine the counterstories of African-American males who have dropped out of school and record their experiences in their own voice of how their schooling impacted their current life circumstances. The emergent themes from their stories support the literature that four factors contribute to Black males’ dropping out of school: 1) negative teacher and administration perception of Black males; 2) labeling and sorting through the use of special education and academic tracking; 3) resistance to schooling due to the insidious practices taking place in schools; and 4) alienation from schooling because of racist, oppressive practices. This study found that the overall story of African-American males in their schooling experiences is one of absence of caring from teachers, administration, and the school system. SPEAKING HIS MIND: COUNTERSTORIES ON RACE, SCHOOLING, AND THE ALIENATION OF AFRICAN-AMERICAN MALES A DISSERTATION Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Doctor of Education Department of Educational Leadership by Adonica Aria Jones-Parks Miami University Oxford, Ohio 2011 Dissertation Director: Dr. Denise Marie Taliaferro-Baszile © Adonica Aria Jones-Parks 2011 TABLE OF CONTENTS Dedication ...........................................................................................................
    [Show full text]
  • Hidden Figures 2
    A TEACHER’S GUIDE TO HarperAcademic.com A TEACHER’S GUIDE TO MARGOT LEE SHETTERLY’S HIDDEN FIGURES 2 Contents About the Book 3 About the Author 3 Discussion Questions 3 Chapter 1: A Door Opens 3 Chapter 2: Mobilization 3 Chapter 3: Past Is Prologue 3 Chapter 4: The Double V 4 Chapter 5: Manifest Destiny 4 Chapter 6: War Birds 4 Chapter 7: The Duration 4 Chapter 8: Those Who Move Forward 4 Chapter 9: Breaking Barriers 4 Chapter 10: Home by the Sea 5 Chapter 11: The Area Rule 5 Chapter 12: Serendipity 5 Chapter 13: Turbulence 5 Chapter 14: Angle of Attack 5 Chapter 15: Young, Gifted, and Black 6 Chapter 16: What a Difference a Day Makes 6 Chapter 17: Outer Space 6 Chapter 18: With All Deliberate Speed 6 Chapter 19: Model Behavior 6 Chapter 20: Degrees of Freedom 6 Chapter 21: Out of the Past, the Future 7 Chapter 22: America is for Everybody 7 Chapter 23: To Boldly Go 7 Writing Prompts 7 A TEACHER’S GUIDE TO MARGOT LEE SHETTERLY’S HIDDEN FIGURES 3 About the Book Katherine Goble (later, Johnson), ever-confident in her mathematical ability and intellect, told her bosses at Langley, “Tell me where you want the man to land, and I’ll tell you where to send him up.” The man in question: an astronaut; the context: the space race that overtook the imagination of a generation; some of the main players who helped achieve some of NASA’s greatest achieve- ments: a group of African American women mathematicians.
    [Show full text]
  • Report Resumes
    REPORT RESUMES ED 012 635 RC 000 888 EIGHTH GRADE ENGLISH CURRICULUM. UNIVERSITY CITY SCHOOL DISTRICT,MO. PUB DATE 65 EDRS PRICE MF-$0.50 HC-34.69 117P. DESCRIPTORS- *GRADE 8, *ENGLISH:*CIIRRIrUi"M GUIDES, WRITING SKILLS,.GRAMMAR, MATURITY TESTS,READING, ATTITUDES; VOCABULARY, BIBLIOGRAPHIES,POETRY, LITERATURE, *ENGLISH CURRICULUM, UNIVERSITY CITY A CURRICULUM GUIDE FOR TEACHINGEIGHTH-GRADE ENGLISH WAS DEVELOPED IN 1965 AT UNIVERSITYCITY, MISSOURI. FOUR UNITS ARE PRESENTED IN DETAILEDOUTLINE FORM.--"PAST THROUGH PROLOGUE," "GROWING UP,""WHAT IS HUMOR," AND "HEROES, REAL AND UNREAL." THREE OTHER UNITSARE SUGGESTED BUT NOT OUTLINED--"VALUE AND VALUES,""FORMING OPINIONS," AND "THE RIGHT TO BE AN INDIVIDUAL." AGENERAL BIBLIOGRAPHY IS PRESENTED.FOR THE OVERALL GUIDE,AND SPECIFIC BIBLIOGRAPHIES ARE INCLUDED FOR EACH MAJORSECTION OF THE INDIVIDUAL UNITS. (RB) . Ln re U.S. DEPARTMENT OF HEALTH, EDUCATION & WE1FARE OFFICE OF EDUCATION rI Ca) THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS LL.1 STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE Of EDUCATION POSITION OR POLICY. EIGHTH E INGLISii CURRICULUM 1965 UNIVERSITY cm PUBLIC SCHOOLS fc006Ur TABLE OF CONTENTS General Introduction General Bibliography Part 1..111141f Past Through Prologue Part IL. Growing Up' Part III. What is Humor? Part IV....... Heroes, Real and Unreal INTRODUCTION 1. The resource units and teaching plans presented in this booklet are based on the unit concepts and topics drawn up at the English curricu- lum meetings held in the spring of 1965.As teachers use these units during the year, they should keep notes on suggested improvements which might be made in the next revision of the units.
    [Show full text]