The Molloy Student Literary Magazine
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Prostitutes, Virgins and Mothers: Questioning Teachings About Biblical Women Table of Contents Introduction 4-14 1. Sarah, The First Matriarch in the Genealogy of Jesus 15-29 2. The Women of Sarah’s Family 30-46 3. Foreign Women in Jesus’ Genealogy 47-58 4. Women in Jesus’ Family 59-77 5. Women Disciples of Jesus 78-92 6. Women in Jesus’ Parables and Public Life 93-112 7. Women in the Development of the Early Church and the Epistles 113-136 8. More than Bible Study137-163 1 Acknowledgments In an essay I wrote during my graduate work for Dr. Letty Russell and J. Shannon Clarkson, I stated, “I am still ignorant because of my inability to read the texts in their original language. I am grateful to theologians like Phyllis Trible who can read the texts in their original language and present the information in a form I can use.” Letty wrote in the margin of my essay, “Even if you could read Hebrew you would need other interpretations to assist in interpretation—we all need another’s help.” I am grateful to Letty and Shannon for mothering me through my Doctor of Ministry program. In 1995, I was lucky enough to take a class from Sister Miriam Therese Winter at the Graduate Theological Union. She wrote three of the required texts for the class: Woman Wisdom: A Feminist Lectionary and Psalter Women of the Hebrew Scriptures: Part One, Woman Witness: A Feminist Lectionary and Psalter Women of the Hebrew Scriptures: Part Two and Woman Word: A Feminist Lectionary and Psalter Women of the New Testament. -
The Rhapsodist
The Rhapsodist Spring 2017 Asheville-Buncombe Technical Community College Asheville, NC Editor’s Note: Editors Barbie Byrd Jeff Horner “You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me Erik Moellering that the things that tormented me most were the very things that connected Ella Mowad me with all the people who were alive, or who ever had been alive. Only if we Eric Overbey face these open wounds in ourselves can we understand them in other people. Mark Smith An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive.” Readers -James Baldwin Kenet Adamson Jennifer Browning ___________________________ Abigail Hickman Lisa Johnson Dear Reader, Stephanie O’Brien As A-B Tech’s primary venue for literature and fine art, The Rhapsodist Beverly Williamson showcases the best examples of creative expression from our college’s diverse population. We are excited to share a journal filled with vision––some pain, heartbreak, and torment––but also, all the necessary joy, connection, and growth in between. Design/Layout Thank you for your continued support of The Rhapsodist. Porscha Orndorf & _____________________________ The Rhapsodist Editors Quoted in: Howard, Jane. “Doom and Glory of Knowing Who You Are.” Life. 24 May 1963, pp. 81-90. 2 3 Carmello...........................................................................21 -
The JW.HAU CORK
p. Y-- THUKSDAY, FEBRUARY B, WBSj- PA6B TWCNTt Average Dally Net Preaa Run The Weather iSantlTPatpr 1EBPttihgNipral& For the Week: Ending. Foraanat of O. 8. B of«aa January >1, 1S59 cuaa 'ooursa aelactiona but appoint Fair and ooMer tonight and Sat Kdmund H. Hindi* Jr., IS l Olcn- Chapman Court. Order of Ama port of Manchester’s c i ^ and eco- o l i r p r i 8 C " ' o l l O ^ G r nomlc development.” ments ahould be ma)le in Advance. 12,879 urday. I.OW tonight 10-tS. High Wood S t, ton Of Mr. uid Mr*. E. H. ranth. will meet tomorrow at 7:46 Let Child Pick About Town Hindi*, Six Parker St., ia now at p.m. in the Masonic Temple. Fol . a . • w ; * l More than 500 persons aHcnded ‘ A ' Hyatt Sutliffe served a* Member of the Audit Saturday In tOs. — — th* Its. Naval RecetvtnR Station. lowing the business session a sur- r o r M i s s W i IGV th* chamber-dinner ■i..eeUn|Nl*st Own Curriculum, moderator and introduced the VERY SOON Bureau *t Orrnlation. * ! year in the high sOhool. Reset Manehe$tt>rr^A City of Village Charm H w Eipaer Club will bold its Norfolk. Va., awaiting: transfer to I prlsii entertainment will be pre- three .panelists: Edson Bailey, I tented. Refreshmenta will be ... „ - , r '■'.T.r « a, ' Uons for the ’.59 event may bi Mrs. Gertrude Hitchcock and. Mra. weakly aetback party in the club- Rooaavelt Roads. San Juan. Puer- Miss Patricia Wiley, 2 Olcott ,St. -
The Victorian Cult of the Dead Child by Mary Gryctko BA in English
Title Page Eternal Innocence: The Victorian Cult of the Dead Child by Mary Gryctko B.A. in English Literature and Government, The College of William and Mary, 2009 M.A. in English Literature, New York University, 2012 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2020 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Mary Gryctko It was defended on May 29, 2020 and approved by Troy Boone, Associate Professor, Department of English Jules Gill-Peterson, Associate Professor, Department of English James Kincaid, Professor Emeritus, University of Southern California, Department of English Patricia Crain, Professor, New York University, Department of English Dissertation Director: Tyler Bickford, Associate Professor, Department of English ii Copyright © by Mary Gryctko 2020 iii Abstract Eternal Innocence: The Victorian Cult of the Dead Child Mary Gryctko, PhD University of Pittsburgh, 2020 This dissertation argues that Victorian subjects’ increased idealization of childhood as a distinct phase of life marked by freedom, helplessness, innocence, and unproductiveness relied upon the figure of the dead child. Working through literary texts, in conjunction with cultural and social histories of childhood and of death, I argue that excessive mourning for dead children in the Victorian era functioned not only as an expression of sorrow for the loss of a particular child but also as a celebration and confirmation of the figure of “the child” as a distinct category of humanity, and bearer of human value. -
Sung by 14-Year-Old Autistic Girl Taryn Mallard-Reid 2 #Bangi
Numbering Video's Name Author's Name 1 "Let it Go" sung by 14-year-old Autistic girl Taryn Mallard-Reid 2 #Bangi my autistic princess! Jo'Nique's Story Autism and Me 3 5 year old autisticgirl sings song from frozen Jessica James 4 A major meltdown jpowellm 5 Autism Behavioral Challenges-Teenage daughter smacksErina momBlondin in the heads & spits, wont brush teeth 6 Autistic 13-Year-Old girl sings "Something There" fromTaryn Disney's Mallard-Reid "Beauty and the Beast". 7 Autistic 4 year old girl sorting her toys Jennifer Doane 8 Autistic 6 yr old singing frozen song Leighann Wilson 9 Autistic beauty shinning bright! Rossie Foushee 10 Autistic boy Jamming to "Blurred Lines" in the car Amandasworld 12 Autistic Daughter Reaction Video to Flappy Bert Renee Ya 13 Autistic Girl Finds Her Voice Jodie Ward 14 Autistic hand flap Karen Sweeney 15 Autistic daughter hand flapping Karen Sweeney 16 Autistic child plays the recorder Jenna Eastland 17 Autistic kirsten donovan playing her new williams piano.Patrick Playing Donovan Tchaikovsky by ear 18 Autistic son, NT daughter swinging together The Mister123 19 Autistic toddler - Poppy part 2 Loulisepop mum 20 Autitic Sing a Long Angel Van Meter 21 Boo boo song by my autistic daughter The Beans 22 Daddy and autistic girl having fun Blafly101 23 Daughter 8 years old autistic stim laughing Conina Johnson 24 Evyn Loves her Autistic Brother Tracey Mahler 25 Giggle Autistic 2 year old sorting numbers Karen Sweeney 26 Hyperlexic Autistic Girl Sight Reads Flash Cards Renee Ya 27 Child with Bipolar Disorder -
It Felt Like a Kiss: the Courtney Love Anthology
It Felt Like A Kiss: The Courtney Love Anthology BREADCRUMB TRAIL BOOKS Introduction: 20 Years In The Dakota “And I know all you devils by your Christian names/and I know all you bitches by your Christian names…” – Turpentine, 1990 There isn’t one creation story. Courtney Love didn’t pop into the world fully formed. She was a shadow at the edge of rock music for years. She’s a glimmer in Alex Cox’s Straight “I made my bed: I lie in it. I made my bed: I’ll die in it.” To Hell. She’s was bit part player on the edge of the Liverpool Miss World, 1994 scene. Julian Cope described her as: Those words from Miss World sort of sum up the mad media “So full of energy that it looked like she’d make a strategy of Miss Love. She knows what the chaos will bring wonderful icon for ugly girls everywhere.” but she does it anyway. She knows what the drugs can bring but she did them anyway. She is always at the heart of a Reads funny but said with love. The kind of love, that Court- maelstrom but unlike say Keith Richards she is not venerated ney would get, the kind of screwed up, fucked up, contradic- for it, she is vilified for it. tory hell of it statement she aces. Because mothers in rock’n’roll are meant to learn their lesson. Courtney Love wasn’t born Courtney Love. On July 9, 1964 They are meant to turn into brand ambassadors for fucking the screaming baby girl was Courtney Michelle Harrison.