DOCSLIB.ORG

Gustavo Vargas Cohen Shirley Jackson's Legacy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gustavo Vargas Cohen Shirley Jackson's Legacy GUSTAVO VARGAS COHEN SHIRLEY JACKSON’S LEGACY: A CRITICAL COMMENTARY ON THE LITERARY RECEPTION PORTO ALEGRE 2012 2 UNIVERIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS LEM – LITERATURAS DE LÍNGUA INGLESA LINHA DE PESQUISA: LITERATURA, IMAGINÁRIO E HISTÓRIA SHIRLEY JACKSON’S LEGACY: A CRITICAL COMMENTARY ON THE LITERARY RECEPTION GUSTAVO VARGAS COHEN ORIENTADORA: PROFa. DRa. SANDRA SIRANGELO MAGGIO Tese de doutoramento submetida ao Programa de Pós-Graduação em Letras da Universidade Federal do Rio Grande do Sul como requisito parcial para a obtenção do grau de Doutor em Letras. PORTO ALEGRE Julho de 2012 3 4 To my parents, Jacob e Zoé who taught me independence in place of ordered conformity 5 ACKNOWLEDGMENTS Much gratitude to my advisor, Sandra Sirangelo Maggio, whose support has been and always will be essential, and to the members of the evaluation committee, Claúdio Vescia Zanini, Márcia Ivana de Lima e Silva and Helenita Rosa Franco. Your advice and assistance are deeply appreciated. To CAPES, for funding this enterprise. 6 ―Shirley Jackson was a very scary lady, indeed‖ -Denise Mathisse Hill, The Daily ―…I have always loved to use fear, to take it and comprehend it and make it work and consolidate a situation where I was afraid and take it whole and work from there... I delight in what I fear. -Shirley Jackson, from an unsent letter to poet Howard Nemerov. ―She was a rebellious young woman who was a disappointment to her mother, and later in life was a reclusive slightly mad genius, plagued by vices of excess, such as smoking and drinking, ala Edgar Allan Poe, which led to her premature death. When you read her stories, you can't help but believe she is either a genius, or a madwoman. I believe she was both.‖ -biographer Judy oppenheimer, Private Demons 7 RESUMO A invisibilidade de Shirley Jackson e seu status de escritora esquecida são investigados nesta tese. Para tanto, reclamações da escassez de críticas avaliativas de seus trabalhos são estudadas no intuito de determinar o quanto estes rótulos danosos realmente refletem seu reconhecimento historicamente pela crítica especializada/acadêmica, pela mídia e pelo público leitor. Exemplos de atividade cultural intensa relativa à sua literatura são oferecidos como contraponto para expor as incongruências que contaminam grande parte de sua historiografia literária. O escopo deste estudo exploratório perfaz um amplo corpo de críticas a respeito dos trabalhos de Jackson desde os anos 1940 até o presente. Dentre as metas desta tese estão a investigação destas inconsistências e a oferta de insights em relação aos fatores que potencialmente as causam. Além disso, uma crítica ainda não realizada é proposta, uma que coloca a autora no centro do empreendimento analítico; em outras palavras, que usa o próprio material ficcional de Jackson como base teórica contra qual examinar sua ficção. Uma seleção de quatro contos compõe o corpus desta pesquisa, são eles ―The Intoxicated‖, ―The Daemon Lover‖, ―Like Mother Used to Make‖ e ―The Villager‖, todos publicados na seminal coleção The Lottery and Other Stories de 1948. Discussões acerca das conexões intertextuais que une os quatro contos são conduzidas com o objetivo de explicitar o quão penetrantes e influentes estes elementos temáticos comuns podem ser, especialmente no que toca os temas que formam o que aqui é chamado de Shirley Jackson Lore. Palavras-chave: Shirley Jackson; The Lottery and Other Stories; Historiografia literária; Recepção literária; Crítica literária. 8 ABSTRACT Shirley Jackson‘s alleged invisibility and status as a forgotten writer are investigated in this thesis. Thus, complaints of a shortage of critical assessment regarding her works were studied in order to determine how these detrimental labels actually reflect her recognition historically by specialized/academic critics, media and reading public. Instances of lively artistic and cultural activity stemming from her literature are offered as counterpoints that expose much of the incongruence that contaminates her literary historiography. The scope of this exploratory study spans a wide-ranging body of criticism about Jackson‘s works from the 1940s to the present. Among the aims of this thesis are the investigation of these disputable inconsistencies and the offering of insights into the potential factors that have caused them. Moreover, it tentatively proposes the critique that does not yet exist, that which places the very author at the center of the critical-source enterprise; in other words, one that uses Jackson‘s own fictional material as scientific-support and background against which to examine her fiction. A selection of four short stories compose the corpus of this research, namely ―The Intoxicated‖, ―The Daemon Lover‖, ―Like Mother Used to Make‖ and ―The Villager‖, all published in the cardinal 1948 short fiction collection The Lottery and Other Stories. Discussions of the restricted intertextual connections that binds the four stories are conducted so as to make conspicuous how pervasive and influential the essential common thematic elements spread all over her oeuvre can be, especially in what concerns the themes that form what is here called the Shirley Jackson Lore. Keywords: Shirley Jackson; The Lottery and Other Stories; Literary historiography; Literary reception; literary criticism. 9 CONTENTS INTRODUCTION………………………………………………………………..……...10 1. NOTES ON SHIRLEY JACKSON’S HAUNTED UNIVERSE………….......…....16 1.1. A Woman and a Writer: The Dual Role……………………………………..……..16 1.2. A Forgotten Writer? ……………………….………….……………….……..……..26 1.3. Not That Forgotten: The Testament of the Present …………….…………..…..…28 2. THE CRITICAL HERITAGE…………………………….…..……...………...…….38 2.1. Scant Critical Assessment………………………………………….…….…..………39 2.2. The Unexpected Phenomenon…………………….………………………..………..65 2.3. A Pattern Emerges: The Search for Thematic Unity………………….……...........76 3. THE UNTAPPED LEGACY………..…………………………………..………..…...87 3.1. “The Intoxicated” ………….…..…………..…………………………...…….……....88 3.2. “The Daemon Lover”………………………………………………...………...….…93 3.3. “Like Mother Used to Make”…………………………………………..…….……..106 3.4. “The Villager”………………………………………………………….….............…118 CONCLUSION ………………...................……………………………………….….….127 REFERENCES……………….…………….…………………………..………….……..132 APPENDICES ………………….………….……………………………………..…...….139 ANNEXES……………………………………………………………………..………….158 10 INTRODUCTION On July 14th 2010, senior writer for Salon magazine Laura Miller entitled an article of hers with an instigating question: ―Is Shirley Jackson a great American writer?‖ – though this is certainly too complex a question for a simple answer, it is also a good starting point for an investigation. Miller subtitled her text: ―the author of The Lottery is still not getting the respect she deserves‖ (MILLER, 2010, p. 1), which kindles the debate concerning the current status of Jackson‘s literary reception as a whole. Upon studying the life and works of American writer Shirley Jackson (1916-1965) one may notice the presence of seemingly ambiguous aspects to the literary history that regards her career at large. One of these inconsistencies, involving mainly her fiction and its critique, is most noteworthy. This inconsistency is formed by: a) the complaint of a shortage of critical assessment concerning her works – which should supposedly reflect her historically bland recognition by the public, the Academy and the media, and should consequently feed her historically alleged status as a forsaken writer; and, conversely, b) today, there seems to exist a lively artistic and cultural activity stemming from and surrounding her literature – including multimedia adaptations1 of her works (to television, theater, cinema, the internet, etc.) as well as intense use of her literature in many areas within the academic world in fields as diverse as Economy and the Health Sciences and including, naturally, the humanities2. This particular incongruity constitutes one of the major (yet ambiguous) features that holistically describe Jackson‘s reception throughout history (counting from the 1940s to the present). In other words, that same forgotten writer whom Miller mentions and whom few seem to give credit to is still, in a sense, very much alive and well regarded as well as present in the minds and lives of many. 1 For examples, see Section 1.3, page 29. 2 For examples, see Section 1.3, page 29-30. 11 As far as the contents of her literary reception per se are concerned, some critics praise her works as notable classics which are well worthy of being admitted to the celebrated literary Canon, others censure them, either by questioning their quality as canonical or by declaring them conspicuous and superficial. That, in itself, is not an inconsistency, since writers are always inevitably objects of disputable critical input regarding their work, nevertheless, Jackson‘s fitful reception is deservingly worthy of investigation. The aims of this thesis are, thus, to investigate these historically disputable inconsistencies, to offer insight into the potential factors that have caused them, as well as to suggest what critics might have missed in the body of critical appraisal that may account for part of the negative sides of the aforementioned flickering reception. These aims invite a theoretical approach that acknowledges both historical and textual contexts. The text-oriented attitude applied in the present investigation implied the provision, in varying amounts, of close readings of
Load more

Recommended publications
  • Photography As Metaphor and Material Object in Victorian Culture
    "MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought.
    [Show full text]
  • Directed By: Josephine Decker Written By: Sarah Gubbins Starring: Elisabeth Moss, Odessa Young, Michael Stuhlbarg, Logan Lerman
    SHIRLEY Directed by: Josephine Decker Written by: Sarah Gubbins Starring: Elisabeth Moss, Odessa Young, Michael Stuhlbarg, Logan Lerman Running Time: 107 Minutes CORNERSTONE FILMS CONTACTS: Publicity: Anna Bohlin/ [email protected] Marketing: Joanne Michael/ [email protected] SYNPOSIS Fred and Rose move to a small Vermont college town in pursuit of a job for Fred as an assistant professor of literature. The young couple receives an offer for free room and board from professor Stanley Hyman, as long as Rose agrees to spend time cleaning up the home and looking after his wife, acclaimed horror author Shirley Jackson. At first Fred and Rose detest the rocky household of the eccentric couple, but they eventually establish deep bonds with their counterparts, which will test the limits of their young love. Director Josephine Decker makes an exciting return with a biographical portrait brought alive with energy and imagination, based on a novel by Susan Merrill and screenplay by Sarah Gubbins. Shirley is a fresh take on the period drama, full of contemporary intrigue and dynamic in style. It features a stellar lead cast—Elisabeth Moss, Michael Stuhlbarg, Odessa Young, and Logan Lerman—who all return to the Festival to give another memorable performance. DIRECTOR’S STATEMENT Shirley Jackson was a wildly unorthodox human and storyteller. Encountering her work was like finding a map towards becoming the kind of artist I would like to be. Daring. Intimate. Structured yet dreamlike. Shirley’s work rides on the skin between imagined and real, seducing with its oddness and humble cracks until you can’t tell if you’re looking up the stairwell or into your own mouth.
    [Show full text]
  • MARY HELLER – CURRICULUM VITAE C
    Heller 1 MARY HELLER – CURRICULUM VITAE c. (208) 310-9913 e. [email protected] w. marychoreographer.com RECENT TEACHING (PAST TEACHING end of CV)________ July – Aug. Urban Bush Women’s Summer Leadership Institute – dancer, researcher and co-creator in 2014 “Soul Deep”, a culminating production of the 100+ participants of the institute. Tulane University, New Orleans, LA Jan. 2014 – Heller Barre Practice®, Adult Tap Workshop, Creative Movement for 3-5 yr. olds, & Present Change Health, Gain Wealth® retreats for teens and adults Locations on marychoreographer.com with Hellet Barre Practice® offered via skype Prescott, Prescott Valley, Chino Valley, & Scottsdale AZ Oct. 2013- Invited Guest Teacher of Contemporary/Modern Technique, and Mentor for Independent Present Study courses. Prescott College, Prescott, AZ Sept. 2013- BeMoved® Artistry 2 Certified Instructor & Breadth of BeMoved® for people sitting – Present Weekly classes for the athlete to assisted living homes. Featured on AZTV, AZKNAU radio, Senior Connection, and Healthhubnetwork.com. Please see CHOREOGRAPHY/CREATIVE WORK for current research being done at this time. Locations on marychoreographer.com & BeMoved-Dance.com, Prescott, Prescott Valley, Chino Valley, & Scottsdale AZ July 2012 - Please see CHOREOGRAPHY/CREATIVE WORK for current research being done at this time. Feb. 2013 BeMoved® substitute in Chicago, IL - see BeMoved-Dance.com Chicago, IL 1994-present Choreographing U.S.A.G Women’s level 7-Elite Gymnastic Floor Routines - Please see seasonal CHOREOGRAPHY/CREATIVE WORK for current research being done at this time as well. Buffalo Grove Dance & Gymnastics Center, Buffalo Grove, IL Aug. 2011 to BeMoved® Certified Instructor, and Floor Barre Fit Instructor – Weekly classes & July 2012 Featured at Family Fun Nights in Moscow, ID in 2011 –Please see CHOREOGRAPHY/ CREATIVE WORK for current research being done at this time as well.
    [Show full text]
  • Inside This Issue Usc Upstate College Of
    USC UPSTATE COLLEGE OF SPRING 2016 Upstate to Introduce New Campus and Academic Program to Downtown Greenville Over the past several years, USC Upstate has demonstrated a Office of Service-Learning and Community Engagement, the steady evolution toward expanding its presence in the region program will utilize the unique “urban laboratory” opportunity and further fulfilling its metropolitan mission. In the upcoming the downtown Greenville location provides and offer students months, this evolution will take another major step forward a hands-on learning experience. with the opening of the university’s downtown Greenville location and the establishment of a new major in urban and “We realized very quickly that the best place for the students regional studies. to begin their studies in a program like this was in a place like Greenville, which is nationally recognized and is studied around USC Upstate’s River Street Campus, located at 501 River St. the country in urban development programs as an example of above Greenville’s Centre Stage theatre, will begin offering urban redevelopment,” McCormick noted. “Its success story is classes this August, with students having the opportunity to take known nationwide, so to position the program in the middle of courses in history, religion, art and other popular areas of study. that couldn’t be more ideal. That’s what we mean by the urban laboratory. You walk out the door and it’s the “We want to have more and more of our “ laboratory.” undergraduates to find this location convenient We see this as an engine and find this location very desirable for their for recruiting more However, the urban and regional studies needs,” Dr.
    [Show full text]
  • Ate9 Dance Company (With Glenn
    Featuring Ate9 Dance Company, Deeply Rooted Dance Theater, View in browser and Visceral Dance Chicago 50 E Congress Pkwy (50 E Ida B. Wells Dr) Lily Oberman Chicago, IL 312.341.2331 (office) | 973.699.5312 (cell) AuditoriumTheatre.org [email protected] Release date: October 10, 2018 ATE9 DANCE COMPANY (WITH GLENN KOTCHE OF WILCO), DEEPLY ROOTED DANCE THEATER, AND VISCERAL DANCE CHICAGO PERFORM AT THE AUDITORIUM THEATRE AS PART OF THE “MADE IN CHICAGO” 312 DANCE SERIES ON NOVEMBER 16 AN EVENING OF INNOVATIVE CONTEMPORARY DANCE Ate9 Dance Company/Deeply Rooted Dance Theater/Visceral Dance Chicago on November 16, 2018 (CHICAGO, IL) – On Friday, November 16, three groundbreaking contemporary dance companies perform on the Auditorium Theatre’s landmark stage in the “Made in Chicago” 312 Dance Series. The evening features Ate9 Dance Company, performing the work calling glenn with live music from Chicago-based percussionist Glenn Kotche (Wilco); Deeply Rooted Dance Theater, performing Kevin Iega Jeff’s Church of Nations, Kevin Iega Jeff and Gary Abbott’s Heaven, and Nicole Clarke-Springer’s Until Lambs Become Lions; and Visceral Dance Chicago, performing company founder Nick Pupillo’s Soft Spoken. “We are thrilled to feature these three innovative companies as we open our 2018-19 ‘Made in Chicago’ 312 Dance Series,” says Rachel Freund, Interim Chief Executive Officer of the Auditorium Theatre. “This evening will highlight the creativity of these distinct companies and showcase the breadth of contemporary dance styles that we present on our historic stage.” The Los Angeles-based Ate9 Dance Company makes its Auditorium Theatre debut with calling glenn (2017), created by company founder and artistic director Danielle Agami in collaboration with Chicagoan Glenn Kotche.
    [Show full text]
  • David Justin CV 2014 Pennsylvania Ballet
    David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts,
    [Show full text]
  • Shirley Jackson's “The Lottery” and Holocaust Literature
    humanities Article Shirley Jackson’s “The Lottery” and Holocaust Literature Michael Robinson Writing and Rhetoric Department, Harrington School of Communication and Media, College of Arts and Sciences, University of Rhode Island, Kingstown, RI 02881, USA; [email protected] Received: 12 January 2019; Accepted: 19 February 2019; Published: 25 February 2019 Abstract: Shirley Jackson’s “The Lottery” has been notorious since its first publication in 1948, but rarely, if ever, has it been read in light of its immediate historical context. This essay draws on literature, philosophy, and anthropology from the period to argue that Jackson’s story, which scholars have traditionally read through the lens of gender studies, invokes the themes of Holocaust literature. To support this argument, the essay explores imaginative Holocaust literature from the period by David Rousset, whose Holocaust memoir The Other Kingdom appeared in English translation in 1946, anthropological discourse from the period on scapegoating and European anti-Semitism, and critical discourse on the Holocaust and anti-Semitism from the period by Hannah Arendt and Theodor Adorno. The analysis finds that, in representing the phenomena of scapegoating and death selection in a small town in the US, Jackson’s story belongs to an abstract discourse on Holocaust-related themes and topics that was actively produced at midcentury, as evidenced partly by Rousset’s influential memoir. A master of the horror genre, Jackson could have drawn on her own experience of anti-Semitism, along with her known interest in the study of folklore, to contribute this chilling representation of the personal experience of death selection to a discourse on Holocaust-related themes.
    [Show full text]
  • Experimentation Through Disguise in Shakespearean Comedies
    EXPERIMENTATION THROUGH DISGUISE IN SHAKESPEAREAN COMEDIES ____________ A Thesis Presented to the Faculty of California State University Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in English ____________ by Melvianne Quarles Andersen Summer 2019 THESIS: EXPERIMENTATION THROUGH DISGUISE IN SHAKESPEAREAN COMEDIES AUTHOR: MELVIANNE QUARLES ANDERSEN APPROVAL PAGE APPROVED: ______________________________ Kimberly Huth, Ph.D. Thesis Committee Chair ______________________________ Debra Best, Ph.D. Committee Member ______________________________ Helen Oesterheld, Ph.D. Committee Member COPYRIGHT PAGE Copyright by MELVIANNE QUARLES ANDERSEN 2019 All Rights Reserved DEDICATION Mike, This… this is for you. iv ACKNOWLEDGEMENTS And let us not be weary in well doing: for in due season we shall reap, if we faint not. —King James Version Gal. 6.9 Unlike any other experience I have had, writing a thesis has been an extremely solitary endeavor. It becomes disheartening to work in the isolation required to complete it. A strong support system makes all the difference in the world. I offer my most heartfelt gratitude to those who supported me during this grueling process. To my mother, Alicia, who always put her children first: thank you for the example you set for me, for the long talks, and for the constant love and support. I always know that you have my back in any situation. You are an amazing woman. Thank you for who you are and for who you helped me become. You made me believe I could do and be anything, and that nothing is impossible. I love you with all my heart. My sister and brother, Akida and Jahid, have always provided a place of safety and laughter.
    [Show full text]
  • Focus on Dance Education
    FOCUS ON DANCE EDUCATION: Engaging in the Artistic Processes: Creating, Performing, Responding, Connecting In Partnership with the International Guild of Musicians in Dance (IGMID) 17th Annual Conference October 7-11, 2015 Phoenix, Arizona CONFERENCE PROCEEDINGS National Dance Education Organization Kirsten Harvey, MFA Editor Focus on Dance Education: Engaging in the Artistic Processes: Creating Performing, Responding, Connecting Editorial Introduction In October 2015, the National Dance Education Organization met for their annual conference in Phoenix, Arizona to celebrate and honor the legacy, and individuality of the NDEO dance community. The warm spirit of Phoenix resonated with each educator and artist that came together at the beautiful Pointe Hilton Tapatio Cliffs Resort. Over 150 workshops, papers presentations, panels, master classes, social events, and performances were offered including full day pre-conference intensives that preceded the official start of the conference. The range of offerings for dance educators included a variety of experiences to foster inspiration, education, response, dialogue and connection to one another. Contributions to Focus on Dance Education: Engaging in the Artistic Processes: Creating Performing, Responding, Connecting Conference Proceedings include paper presentations, panel discussions, workshops, and movement sessions presented from October 7-11, 2015. The proceedings include 4 abstracts, 9 full papers, 6 movement session summaries, 6 summary of workshop presentations, 2 panel discussion summaries, and 1 special interest group summary. One of the broadest ranges of submissions since I have been editing the proceedings. The NDEO top paper selection committee selected Caroline Clark’s paper titled “We Learned to Perform by Performing: Oral Histories of Ballet Dancers in a Beer Hall” for the Top Paper Citation.
    [Show full text]
  • The Lottery” Patrick J
    Contemporary Justice Review Vol. 7, No. 4, December 2004, pp. 411–419 Arbitrary Condemnation and Sanctioned Violence in Shirley Jackson’s “The Lottery” Patrick J. Shields ThisTaylorGCJR7405.sgm10.1080/1028258042000305884Contemporary1028-2580Original200474000000December and& ArticleFrancis (print)/1477-271XFrancis Justice Ltd 2004 Ltd Reviewarticle (online) will discuss current issues surrounding the administration of capital punish- ment in the U.S. with insights from Shirley Jackson’s “The Lottery”. The story itself shows the atavistic nature lurking beneath humankind’s civilized surface and leads the reader to examine such notions as scapegoating, ritual cleansing, gender, class structure, arbitrary condemnation, and sanctioned violence. There may be more truth in Jackson’s short story than the reader cares to confront. This opens the possibility that fiction can give us more insight into value issues than other sources can. Although fiction is made up of imaginary elements, it is true to reality and human experience. The legal historical reality of capital punishment and its subsequent implementation as it has existed and still exists in our culture purports to establish and maintain what amounts to a legal fiction of its own. In this story, Jackson presents us with a glimpse into humankind’s past and brings the reader to question the justification and use of capital punishment in our culture. Keywords: Arbitrary Condemnation; Atavism; Capital Punishment; Ritual Cleansing; Sanctioned Violence; Scapegoating The less there is to justify a traditional custom, the harder it is to get rid of it. (Mark Twain) It is a pleasant day in late June. The townsfolk gather in the village square as they do each year for this event.
    [Show full text]
  • Puyallups Occupation of Tacoma Hospital (1)” of the Bradley H
    The original documents are located in Box 5, folder “Puyallups Occupation of Tacoma Hospital (1)” of the Bradley H. Patterson Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 5 of the Bradley H. Patterson Files at the Gerald R. Ford Presidential Library Prlt !MI ~Iff ;~&of /) ra-J- J ~ MEMORANDUM OF CALL I 0 WILL CALL AGAIN 0 IS WAITING TO SEE YOU 0 RETURNED YOUR CALL 0 WISHES AN APPOINTMENT RECEIVED BY IDATE ITIME SfANDARD FORM 63 01'0 : 18811---'8-18-60841-1 882-aO "63-108 REVISED AUGUST 1967 GSA FPMR (41 CFR) 101-11.6 ~ \: <. ~ ~~ . ~-s THE WHITE WAS HOUSE , ,'/ ' . HINGTON lj "!{_;z ~!_~ i /)o r z;;Jh~ 0 4 t (J1.P'-c }iw 4J' liZ~• THE WHITE HOUSE WASHINGTON • THE WHITE HOUSE WASHINGTON ~(/~~~ r // . --v~affi ( ~; - ~ . THE WHITE HOUSE WASHINGTON THE WHITE HOUSE WASHINGTON ~~-~ )// 0<-f ( ~ / • ~ THE WHITE HOUSE WASHINGTON "very accertable" "may lead to Indians vacating the facility" said RB.
    [Show full text]
  • Mary Heller – Curriculum Vitae Recent Teaching (Past
    Heller 1 MARY HELLER – CURRICULUM VITAE p. (208) 310-9913 cell e. [email protected] w. marychoreographer.com RECENT TEACHING (PAST TEACHING second to last at end of CV) August 2018 – Adjunct Professor of Dance, Yavapai Community College – Ballet 1, Ballet 11, Tap, Modern Present BeMoved®, Jazz, Choreography, Privates in Dance, Somatics, Heller Barre Practice®, Theory, Pedagogy Instruction and Wellness Advising coursework for credit in the Performing Arts Associates Degree. Yavapai Community College, Prescott, AZ Jan. - April By request of local community – Keep Dancing - Modern 40+ June – July Sept. – Dec. 2018 Elks Theatre Performing Arts Center, and SWITCH Perf. Arts Prescott area, AZ Feb. – March Invited Teaching Dance Artist for HeART On Wheels – Meals On Wheels – Creative Aging Sept. – Dec. Arizona Commission on the Arts grants funded through Meals on Wheels, Central Arizona 2017 Private Homebound, Prescott, AZ June 2016 Sharing Ground launch at Juneteenth, Phoenix, AZ - International for-profit Tech space, and Present Dance Company sharinggroundintl.com – currently accepting investors Headqaurters Prescott: Prescott, Chicago, Iraq May 2016- Invited Teaching Artist for my “Your Movement is Your Biography” - Creative Aging Present Choreographic Tools & Music Workshop with David Sornesen, Musician Workshops at Alta Vista Living Home, Prescott, AZ Sept. 2015 Ballet/Tap through the methodology of Creative Movement for 3-6 yr. olds, Adult 2016, 2017, Tap Workshop, Heller Barre Practice®, Modern 40+, teacher on call for Ballet, Jazz 2018 - and Contemporary. Present SWITCH Performing Arts, Prescott, AZ Jan. 2014 - Mary Heller Dance Arts – classes offered: Heller Barre Practice®, Beg. - Advanced Present Ballet, Modern, Jazz, Tap, Contemporary, Improv and Contact Improv Techniques, Partnering, Principles of Partnering, Somatics, Creative Movement for 3-5 yr.
    [Show full text]