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American Love Stories: Narrative Ethics and the Novel from Stowe to James
American Love Stories: Narrative Ethics and the Novel from Stowe to James By Ashley Carson Barnes A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Dorothy Hale, Chair Professor Samuel Otter Professor Dorri Beam Professor Robert Alter Fall 2012 1 Abstract American Love Stories: Narrative Ethics and the Novel from Stowe to James by Ashley Carson Barnes Doctor of Philosophy in English University of California, Berkeley Professor Dorothy Hale, Chair “American Love Stories” argues for the continuity between two traditions often taken to be antagonistic: the sentimental novel of the mid-nineteenth century and the high modernism of Henry James. This continuity emerges in the love stories tracked here, from Harriet Beecher Stowe’s Uncle Tom’s Cabin and Elizabeth Stuart Phelps’s The Gates Ajar, through Nathaniel Hawthorne’s The Blithedale Romance and Herman Melville’s Pierre, to Elizabeth Stoddard’s The Morgesons and James’s The Golden Bowl. In these love stories—the other side of the gothic tradition described by Leslie Fiedler—desire is performed rather than repressed, and the self is less a private container than a public exhibit. This literary-historical claim works in tandem with the dissertation’s argument for revising narrative ethics. The recent ethical turn in literary criticism understands literature as practically engaging the emotions, especially varieties of love, that shape our social lives. It figures reading as a love story in its own right: an encounter with a text that might grant us intimacy with an authorial persona or else spurn our desire to grasp its alterity. -
08-25 Grow Local
Orange County Review inSIDEr, August 25, 2011 in Some vegetable stands do not sell locally watermelons! Seriously, the Chinese are inject- Plant, till, harvest, sell, buy, eat grown produce. They buy it from wholesalers, ing watermelons with some sort of growth sub- and they are not listed in the guide. Wiley stance that makes some of them explode. You says, with these sellers, just ask; they'll tell you will not find one exploding watermelon at The where the produce comes from. And keep an Garden Patch. None of the pork coming out of SIDE eye out for dead giveaways, "products out of Retreat Farm is toxic. You will not get food poi- LOCAL season," such as tomatoes in April. soning from eating Tree and Leaf's leafy greens. There are a lot of enduring reasons to buy Are we self-sufficient locally? Molly Visosky We've seen the bumper fresh, buy local. One of them is travel distance. says we have the potential to be. She started stickers. We've opened our According to the Leopold Center for Sustainable the first locally grown gourmet produce distribu- mailbox to find the Buy Agriulture at Iowa State, locally produced food torship in this area three years ago, known as Fresh, Buy Local annual travels an average of 56 miles before it reaches Fresh Link. The name says it all. She's the link guide. New local pick-your- the consumer. Non locally produced food trav- between producers in Orange, Madison, and own outlets have sprouted els 1,494 miles or 27 times further. -
The ONE and ONLY Ivan
KATHERINE APPLEGATE The ONE AND ONLY Ivan illustrations by Patricia Castelao Dedication for Julia Epigraph It is never too late to be what you might have been. —George Eliot Glossary chest beat: repeated slapping of the chest with one or both hands in order to generate a loud sound (sometimes used by gorillas as a threat display to intimidate an opponent) domain: territory the Grunt: snorting, piglike noise made by gorilla parents to express annoyance me-ball: dried excrement thrown at observers 9,855 days (example): While gorillas in the wild typically gauge the passing of time based on seasons or food availability, Ivan has adopted a tally of days. (9,855 days is equal to twenty-seven years.) Not-Tag: stuffed toy gorilla silverback (also, less frequently, grayboss): an adult male over twelve years old with an area of silver hair on his back. The silverback is a figure of authority, responsible for protecting his family. slimy chimp (slang; offensive): a human (refers to sweat on hairless skin) vining: casual play (a reference to vine swinging) Contents Cover Title Page Dedication Epigraph Glossary hello names patience how I look the exit 8 big top mall and video arcade the littlest big top on earth gone artists shapes in clouds imagination the loneliest gorilla in the world tv the nature show stella stella’s trunk a plan bob wild picasso three visitors my visitors return sorry julia drawing bob bob and julia mack not sleepy the beetle change guessing jambo lucky arrival stella helps old news tricks introductions stella and ruby home -
I Know Why the Caged Bird Sings by Maya Angelou
y f !, 2.(T I Know Why the Caged Bird Sings MAYA ANGELOU Level 6 Retold by Jacqueline Kehl Series Editors: Andy Hopkins and Jocelyn Potter Contents page Introduction V Chapter 1 Growing Up Black 1 Chapter 2 The Store 2 Chapter 3 Life in Stamps 9 Chapter 4 M omma 13 Chapter 5 A New Family 19 Chapter 6 Mr. Freeman 27 Chapter 7 Return to Stamps 38 Chapter 8 Two Women 40 Chapter 9 Friends 49 Chapter 10 Graduation 58 Chapter 11 California 63 Chapter 12 Education 71 Chapter 13 A Vacation 75 Chapter 14 San Francisco 87 Chapter 15 Maturity 93 Activities 100 / Introduction In Stamps, the segregation was so complete that most Black children didn’t really; absolutely know what whites looked like. We knew only that they were different, to be feared, and in that fear was included the hostility of the powerless against the powerful, the poor against the rich, the worker against the employer; and the poorly dressed against the well dressed. This is Stamps, a small town in Arkansas, in the United States, in the 1930s. The population is almost evenly divided between black and white and totally divided by where and how they live. As Maya Angelou says, there is very little contact between the two races. Their houses are in different parts of town and they go to different schools, colleges, stores, and places of entertainment. When they travel, they sit in separate parts of buses and trains. After the American Civil War (1861—65), slavery was ended in the defeated Southern states, and many changes were made by the national government to give black people more rights. -
Spring 1986 Editor: the Cover Is the Work of Lydia Sparrow
'sReview Spring 1986 Editor: The cover is the work of Lydia Sparrow. J. Walter Sterling Managing Editor: Maria Coughlin Poetry Editor: Richard Freis Editorial Board: Eva Brann S. Richard Freis, Alumni representative Joe Sachs Cary Stickney Curtis A. Wilson Unsolicited articles, stories, and poems are welcome, but should be accom panied by a stamped, self-addressed envelope in each instance. Reasoned comments are also welcome. The St. John's Review (formerly The Col lege) is published by the Office of the Dean. St. John's College, Annapolis, Maryland 21404. William Dyal, Presi dent, Thomas Slakey, Dean. Published thrice yearly, in the winter, spring, and summer. For those not on the distribu tion list, subscriptions: $12.00 yearly, $24.00 for two years, or $36.00 for three years, paya,ble in advance. Address all correspondence to The St. John's Review, St. John's College, Annapolis, Maryland 21404. Volume XXXVII, Number 2 and 3 Spring 1986 ©1987 St. John's College; All rights reserved. Reproduction in whole or in part without permission is prohibited. ISSN 0277-4720 Composition: Best Impressions, Inc. Printing: The John D. Lucas Printing Company Contents PART I WRITINGS PUBLISHED IN MEMORY OF WILLIAM O'GRADY 1 The Return of Odysseus Mary Hannah Jones 11 God of Abraham, Isaac, and Jacob Joe Sachs 21 On Beginning to Read Dante Cary Stickney 29 Chasing the Goat From the Sky Michael Littleton 37 The Miraculous Moonlight: Flannery O'Connor's The Artificial Nigger Robert S. Bart 49 The Shattering of the Natural Order E. A. Goerner 57 Through Phantasia to Philosophy Eva Brann 65 A Toast to the Republic Curtis Wilson 67 The Human Condition Geoffrey Harris PART II 71 The Homeric Simile and the Beginning of Philosophy Kurt Riezler 81 The Origin of Philosophy Jon Lenkowski 93 A Hero and a Statesman Douglas Allanbrook Part I Writings Published in Memory of William O'Grady THE ST. -
Precious but Not Precious UP-RE-CYCLING
The sounds of ideas forming , Volume 3 Alan Dunn, 22 July 2020 presents precious but not precious UP-RE-CYCLING This is the recycle tip at Clatterbridge. In February 2020, we’re dropping off some stuff when Brigitte shouts “if you get to the plastic section sharpish, someone’s throwing out a pile of records.” I leg it round and within seconds, eyes and brain honed from years in dank backrooms and charity shops, I smell good stuff. I lean inside, grabbing a pile of vinyl and sticking it up my top. There’s compilations with Blondie, Boomtown Rats and Devo and a couple of odd 2001: A Space Odyssey and Close Encounters soundtracks. COVER (VERSIONS) www.alandunn67.co.uk/coverversions.html For those that read the last text, you’ll enjoy the irony in this introduction. This story is about vinyl but not as a precious and passive hands-off medium but about using it to generate and form ideas, abusing it to paginate a digital sketchbook and continuing to be astonished by its magic. We re-enter the story, the story of the sounds of ideas forming, after the COVER (VERSIONS) exhibition in collaboration with Aidan Winterburn that brings together the ideas from July 2018 – December 2019. Staged at Leeds Beckett University, it presents the greatest hits of the first 18 months and some extracts from that first text that Aidan responds to (https://tinyurl.com/y4tza6jq), with me in turn responding back, via some ‘OUR PRICE’ style stickers with quotes/stats. For the exhibition, the mock-up sleeves fabricated by Tom Rodgers look stunning, turning the digital detournements into believable double-sided artefacts. -
ACT Early Milestone Moments
Milestone Moments Learn the Signs. Act Early. Learn the Signs. Act Early. www.cdc.gov/milestones 1-800-CDC-INFO Adapted from CARING FOR YOUR BABY AND YOUNG CHILD: BIRTH TO AGE 5, Fifth Edition, edited by Steven Shelov and Tanya Remer Altmann © 1991, 1993, 1998, 2004, 2009 by the American Academy of Pediatrics and You can follow your child’s development by watching how he or BRIGHT FUTURES: GUIDELINES FOR HEALTH SUPERVISION OF INFANTS, CHILDREN, AND ADOLESCENTS, Third she plays, learns, speaks, and acts. Edition, edited by Joseph Hagan, Jr., Judith S. Shaw, and Paula M. Duncan, 2008, Elk Grove Village, IL: American Academy of Pediatrics. Special acknowledgements to Susan P. Berger, PhD; Jenny Burt, PhD; Margaret Greco, MD; Katie Green, MPH, Look inside for milestones to watch for in your child and how you CHES; Georgina Peacock, MD, MPH; Lara Robinson, PhD, MPH; Camille Smith, MS, EdS; Julia Whitney, BS; and can help your child learn and grow. Rebecca Wolf, MA. Centers for Disease Centers for Disease Control and Prevention Control and Prevention www.cdc.gov/milestones www.cdc.gov/milestones 1-800-CDC-INFO 1-800-CDC-INFO 220788 Milestone Moments How your child plays, learns, speaks, and acts offers important clues about your child’s development. Developmental milestones are things most children can do by a certain age. The lists that follow have milestones to look for when your child is: 2 Months ............................................................... page 3 – 6 Check the milestones your child has reached at each age. 4 Months ............................................................... page 7 –10 Take this with you and talk with your child’s doctor at every visit about the milestones your child has reached and what to 6 Months .............................................................. -
Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Spring 2016 Issue
palaver e /p ‘læve r/ n. A talk, a discussion, a dialogue; (spec. in early use) a conference between African tribes-people and traders or travellers. v. To praise over-highly, flatter; to cajole. To persuade (a person) to do something; to talk (a person) out of or into something; to win (a per- son) over with palaver. To hold a colloquy or conference; to parley or converse with. © Palaver. Spring 2016 issue. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, without prior written permission from Palaver. Rights to individual submissions remain the property of their authors. Graduate Liberal Studies Program University of North Carolina Wilmington 105 Bear Hall Wilmington, NC 28403 www.uncw.edu/gls Masthead | Spring 2016 Founding Editors Copy Chiefs Contributing Editors Sarah E. Bode John Dailey Dr. Josh Bell Ashley Elizabeth Hudson Mikkel Lysne Michelle Bliss Melissa Slaven-Warren Sarah E. Bode Executive Editor Dr. Theodore Burgh Patricia Turrisi Staff Lauren B. Evans Holli Terrell-Cavalluzi Dr. Carole Fink Editor-in-Chief Jonny Harris Courtney Johnson Ashley Elizabeth Hudson Travis Henry Katja Huru Linda McCormack Rebecca Lee Managing Editor Janay Moore Johannes Lichtman Erin Ball Dr. Marlon Moore Dr. Diana Pasulka Layout Editors Dr. Alex Porco Ashley Elizabeth Hudson Nick Rymer Erin Ball Dr. Michelle Scatton-Tessier Dr. Anthony Snider Layout Assistant Erin Sroka Gabe Reich Dr. Patricia Turrisi Cover Art: “The Indistinct Notion of an Object Trajectory” by Ryota Matsumoto Back Cover Art: “Surviving in the Multidimensional Space of Cognitive Dissonance” by Ryota Matsumoto Thank you to the Graduate Liberal Studies Program at UNCW for letting us call you home. -
A Critical Study of the Novels of John Fowles
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1986 A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES KATHERINE M. TARBOX University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation TARBOX, KATHERINE M., "A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES" (1986). Doctoral Dissertations. 1486. https://scholars.unh.edu/dissertation/1486 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES BY KATHERINE M. TARBOX B.A., Bloomfield College, 1972 M.A., State University of New York at Binghamton, 1976 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May, 1986 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This dissertation has been examined and approved. .a JL. Dissertation director, Carl Dawson Professor of English Michael DePorte, Professor of English Patroclnio Schwelckart, Professor of English Paul Brockelman, Professor of Philosophy Mara Wltzllng, of Art History Dd Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I ALL RIGHTS RESERVED c. 1986 Katherine M. Tarbox Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to the memory of my brother, Byron Milliken and to JT, my magus IV Reproduced with permission of the copyright owner. -
The Complete Poetry of James Hearst
The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring. -
Oral History Interview with James Carpenter, 2008 February 25
Oral history interview with James Carpenter, 2008 February 25 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with James Carpenter on February 25, 2008. The interview took place at the artist's studio in New York, New York, and was conducted by Jo Lauria for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. James Carpenter and Jo Lauria have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JO LAURIA: Interview for the Archives of American Art, February 25 [, 2008], Monday, at James Carpenter Design Studio. Interview with James Carpenter by Jo Lauria. So James, would you just pronounce the way you'd like your - JAMES CARPENTER: Sure, James Carpenter. MS. LAURIA: Okay. And today we're at your design studio here in New York at 145 Hudson Street, and we'll just start with the basic questions. Where and when were you born? MR. CARPENTER: I was born in Washington, D.C., in 1949, Walter Reed Army Hospital.