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Representations of Love in the Novels of Jeanette Winterson from 1985 to 2000
THE U1'IIVERSITY OF HULL Representations of Love in the Novels of Jeanette Winterson From 1985 to 2000 being a Thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by Julie Lisa Ellam B.A.(Hons), M.A. April 2003 1 Acknowledgements The support and guidance of my supervisor, Dr Jane Thomas, has enabled me to complete this work. I am also indebted to her for advising me to apply for the Graduate Teaching Assistant position at Hull University and for all of the technical advice she has offered consistently whilst I was working on both my thesis and M.A. dissertation. I would also like to acknowledge and thank Professor Angela Leighton for her detailed analysis of a draft of this work. Thanks must go to my family, friends and colleagues who have had to endure a constant barrage of complaints and tears over the last few years. Without their kindness and love it is unlikely that I would have even embarked on such a project, let alone complete it. Finally, this is for all the absent loved ones who are always in my thoughts. 11 Contents Acknowledgements 1 Contents 11 Abbreviations 111 Introduction 1 Chapter 1 The Ties That Bind 16 (Oranges are not the Only Fruit (1985)) Chapter 2 Love, Testing the Limits of Freedom 57 (The Passion (1987)) Chapter 3 Writing Strategies: Love, Politics and Art 96 (Sexing the Cherry (1989)) Chapter 4 Undying Love 127 (Written on the Body (1992)) Chapter 5 The Language of Love 159 (Written on the Body (1992) and Art and Lies (1994)) Chapter 6 Cheating Hearts 19l (Gut Symmetries (1997)) Chapter 7 Love Stories: New arid Old 221 (The.Powerbook (2000)) Conclusion 256 Bibliography 262 ill Abbreviations 0 Oranges Are Not the Only Fruit (1985) P The Passion (1987) S Sexing the Cherry (1989) W Written on the Body (1992) AL Art and Lies (1994) GS Gut Symmetries (1997) TP The.Powerbook (2000) A 0 Art Objects: Essays on Ecstasy and Effrontery (1995) 1 Introduction What a strange world it is where you can have as much sex as you like but love is taboo. -
James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction. -
Glossary of Sewing Terms
Glossary of Sewing Terms Judith Christensen Professional Patternmaker ClothingPatterns101 Why Do You Need to Know Sewing Terms? There are quite a few sewing terms that you’ll need to know to be able to properly follow pattern instructions. If you’ve been sewing for a long time, you’ll probably know many of these terms – or at least, you know the technique, but might not know what it’s called. You’ll run across terms like “shirring”, “ease”, and “blousing”, and will need to be able to identify center front and the right side of the fabric. This brief glossary of sewing terms is designed to help you navigate your pattern, whether it’s one you purchased at a fabric store or downloaded from an online designer. You’ll find links within the glossary to “how-to” videos or more information at ClothingPatterns101.com Don’t worry – there’s no homework and no test! Just keep this glossary handy for reference when you need it! 2 A – Appliqué – A method of surface decoration made by cutting a decorative shape from fabric and stitching it to the surface of the piece being decorated. The stitching can be by hand (blanket stitch) or machine (zigzag or a decorative stitch). Armhole – The portion of the garment through which the arm extends, or a sleeve is sewn. Armholes come in many shapes and configurations, and can be an interesting part of a design. B - Backtack or backstitch – Stitches used at the beginning and end of a seam to secure the threads. To backstitch, stitch 2 or 3 stitches forward, then 2 or 3 stitches in reverse; then proceed to stitch the seam and repeat the backstitch at the end of the seam. -
General Information
General Information: Summer dresses, made from lightweight fabric like silk organza or printed cotton, were popular during the time of the early bustle era from 1869-1876 for excursions to the sea or sporting activities like tennis. Hence the name “seaside costume” comes. Beside strong and light colors also striped fabrics were popular. Striped fabric often was cut on the bias for ruches and decorations to create lovely patterns. At the beginning of the era skirts were supported by smaller crinolines with an additional bustle at the back. At the middle of the seventies the crinoline was displaced by the actual tournure or “Cul de Paris”. Information’s about the sewing pattern: A seam allowance of 5/8” (1,5cm) is included, except other directions directly on the sewing pattern. Transfer all marks carefully when cutting the fabric. Pleas always do a mockup first. To get the desired shape the dress should be worn over a corset and suitable underpinnings. The dress is intended to be worn for more sporting activities, so it is designed to be worn over a small to a medium size bustle pad. If you want to wear the dress over a small crinoline or a larger bustle you have to spread the back width of the skirt to the hip era. Plan to make two or three pleats into the skirt gore #2 and #3 at the hip section. The front waist piece and the front apron are cut as one piece, at the side and the back the apron pieces are sewn on and folded into regular pleats at the back. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
ROSE in BLOOM a Sequel to "Eight Cousins"
ROSE IN BLOOM A Sequel to "Eight Cousins" By Louisa May Alcott Preface As authors may be supposed to know better than anyone else what they intended to do when writing a book, I beg leave to say that there is no moral to this story. Rose is not designed for a model girl, and the Sequel was simply written in fulfillment of a promise, hoping to afford some amusement, and perhaps here and there a helpful hint, to other roses getting ready to bloom. L. M. Alcott September 1876 Contents Preface Chapter 1 COMING HOME Chapter 2 OLD FRIENDS WITH NEW FACES Chapter 3 MISS CAMPBELL Chapter 4 THORNS AMONG THE ROSES Chapter 5 PRINCE CHARMING Chapter 6 POLISHING MAC Chapter 7 PHEBE Chapter 8 BREAKERS AHEAD Chapter 9 NEW YEAR'S CALLS Chapter 10 THE SAD AND SOBER PART Chapter 11 SMALL TEMPTATIONS Chapter 12 AT KITTY'S BALL Chapter 13 BOTH SIDES Chapter 14 AUNT CLARA'S PLAN Chapter 15 ALAS FOR CHARLIE! Chapter 16 GOOD WORKS Chapter 17 AMONG THE HAYCOCKS Chapter 18 WHICH WAS IT? Chapter 19 BEHIND THE FOUNTAIN Chapter 20 WHAT MAC DID Chapter 21 HOW PHEBE EARNED HER WELCOME Chapter 22 SHORT AND SWEET Chapter 1 COMING HOME Three young men stood together on a wharf one bright October day awaiting the arrival of an ocean steamer with an impatience which found a vent in lively skirmishes with a small lad, who pervaded the premises like a will-o'-the-wisp and afforded much amusement to the other groups assembled there. "They are the Campbells, waiting for their cousin, who has been abroad several years with her uncle, the doctor," whispered one lady to another as the handsomest of the young men touched his hat to her as he passed, lugging the boy, whom he had just rescued from a little expedition down among the piles. -
The Routledge Companion to Actor-Network Theory
The Routledge Companion to Actor-Network Theory This companion explores ANT as an intellectual practice, tracking its movements and engagements with a wide range of other academic and activist projects. Showcasing the work of a diverse set of ‘second generation’ ANT scholars from around the world, it highlights the exciting depth and breadth of contemporary ANT and its future possibilities. The companion has 38 chapters, each answering a key question about ANT and its capacities. Early chapters explore ANT as an intellectual practice and highlight ANT’s dialogues with other fields and key theorists. Others open critical, provocative discussions of its limitations. Later sections explore how ANT has been developed in a range of so cial scientific fields and how it has been used to explore a wide range of scales and sites. Chapters in the final section discuss ANT’s involvement in ‘real world’ endeavours such as disability and environmental activism, and even running a Chilean hospital. Each chapter contains an overview of relevant work and introduces original examples and ideas from the authors’ recent research. The chapters orient readers in rich, complex fields and can be read in any order or combination. Throughout the volume, authors mobilise ANT to explore and account for a range of exciting case studies: from wheelchair activism to parliamentary decision-making; from racial profiling to energy consumption monitoring; from queer sex to Korean cities. A comprehensive introduction by the editors explores the significance of ANT more broadly and provides an overview of the volume. The Routledge Companion to Actor-Network Theory will be an inspiring and lively companion to aca- demics and advanced undergraduates and postgraduates from across many disciplines across the social sciences, including Sociology, Geography, Politics and Urban Studies, Environmental Studies and STS, and anyone wishing to engage with ANT, to understand what it has already been used to do and to imagine what it might do in the future. -
Lightspeed Magazine, Issue 78 (November 2016)
TABLE OF CONTENTS Issue 78, November 2016 FROM THE EDITOR Editorial, November 2016 SCIENCE FICTION Dinosaur Killers Chris Kluwe Under the Eaves Lavie Tidhar Natural Skin Alyssa Wong For Solo Cello, op. 12 Mary Robinette Kowal FANTASY Two Dead Men Alex Jeffers Shooting Gallery J.B. Park A Dirge for Prester John Catherynne M. Valente I've Come to Marry the Princess Helena Bell NOVELLA Karuna, Inc. Paul Di Filippo EXCERPTS The Genius Asylum Arlene F. Marks NONFICTION Media Review: Westworld The Geek’s Guide to the Galaxy Book Reviews, November 2016 Kate M. Galey, Jenn Reese, Rachel Swirsky, and Christie Yant Interview: Stephen Baxter The Geek’s Guide to the Galaxy AUTHOR SPOTLIGHTS Chris Kluwe Lavie Tidhar J.B. Park Alyssa Wong Catherynne M. Valente Mary Robinette Kowal Helena Bell Paul di Filippo MISCELLANY Coming Attractions Stay Connected Subscriptions and Ebooks About the Lightspeed Team Also Edited by John Joseph Adams © 2016 Lightspeed Magazine Cover by Reiko Murakami www.lightspeedmagazine.com Editorial, November 2016 John Joseph Adams | 1064 words Welcome to issue seventy-eight of Lightspeed! We have original science fiction by Chris Kluwe (“Dinosaur Killers”) and Alyssa Wong (“Natural Skin”), along with SF reprints by Lavie Tidhar (“Under the Eaves”) and Mary Robinette Kowal (“For Solo Cello, op. 12”). Plus, we have original fantasy by J.B. Park (“Shooting Gallery”) and Helena Bell (“I’ve Come to Marry the Princess”), and fantasy reprints by Alex Jeffers (“Two Dead Men”) and Catherynne M. Valente (“A Dirge for Prester John”). All that, and of course we also have our usual assortment of author spotlights, along with our book and media review columns. -
Sholem Schwarzbard: Biography of a Jewish Assassin
Sholem Schwarzbard: Biography of a Jewish Assassin The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Kelly. 2012. Sholem Schwarzbard: Biography of a Jewish Assassin. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:9830349 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2012 Kelly Scott Johnson All rights reserved Professor Ruth R. Wisse Kelly Scott Johnson Sholem Schwarzbard: Biography of a Jewish Assassin Abstract The thesis represents the first complete academic biography of a Jewish clockmaker, warrior poet and Anarchist named Sholem Schwarzbard. Schwarzbard's experience was both typical and unique for a Jewish man of his era. It included four immigrations, two revolutions, numerous pogroms, a world war and, far less commonly, an assassination. The latter gained him fleeting international fame in 1926, when he killed the Ukrainian nationalist leader Symon Petliura in Paris in retribution for pogroms perpetrated during the Russian Civil War (1917-20). After a contentious trial, a French jury was sufficiently convinced both of Schwarzbard's sincerity as an avenger, and of Petliura's responsibility for the actions of his armies, to acquit him on all counts. Mostly forgotten by the rest of the world, the assassin has remained a divisive figure in Jewish-Ukrainian relations, leading to distorted and reductive descriptions his life. -
Catchers, Cases and Other Com Positions
Catchers, Cases and Other Compositions An Anthology of Essays, Poems, and Stories Composition, Section 146 (Grade 10) Paul D. Schreiber High School September 2011 ‐‐ January 2012 Port Washington, NY Students: Jessica Altuch, Kahaf Bhuiyan, Sabrina Brennan, Christian Castillo, Bomin Choi, Roxana Diaz, Lauren Donahue, Amanda Ehren, Maggie Golder, Norma Gonzalez, Ezra Hyman, Ahmed Ismail, Henry Lee, Emily Perlman, Adam Rubenstein, Carrie Rybecky, Samara Walsh, Alessandra Verdi, Emily Weinstein, George Weiss Teacher: Dr. Sara Brock Table of Contents Jessica Altuch When Bitten Kahaf Bhuiyan Augmented Sabrina Brennan Holden’s Journey Christian Castillo Phony Modern Teen Bomin Choi Different Faces but Similar Lives Roxana Diaz Dreaming about Loneliness Lauren Donahue All Paul’s Glory Over Amanda Ehren What Oranges Are and Aren’t Maggie Golder Paul’s Darkened Overture James Castle: A Monologue Norma Gonzalez Remembering the Trouble‐Maker Ahmed Ismail Holden: The Universal Teenager Henry Lee Darken Dusk Emily Perlman Hiding Behind the Hat Adam Rubenstein Holden’s Journey Carolyn Rybecky The Path to Success Samara Walsh An Anonymous Trouble‐Maker Ali Verdi Like Mother, Unlike Daughter Three Outsiders Emily Weinstein The Perks of Summer Reading My “Older” Brother: A Monologue by Phoebe Caulfield Weiss, George Two Faces Cover illustration by Sabrina Brenna. When Bitten by Jessica Altuch With great power, there must also come great responsibility. ‐‐ Stan Lee, Amazing Fantasy #15 Spiderman is a famous, fictional, American character, who can be perceived as an outsider in comic books and the movies. How would you respond if your life were to dramatically change overnight? In Peter Parker’s case, a high school teenager was bitten by a genetically modified spider, which changed his life, and gave him spider‐like abilities, which he then uses for the good of the city. -
How Wesley Ward D
FRIDAY, APRIL 17, 2015 732-747-8060 $ TDN Home Page Click Here WAR IN FRONT YET AGAIN AT CRAVEN DOMINATING 2-YEAR-OLD RACES AT By Emma Berry KEENELAND: HOW WESLEY WARD DOES IT By Bill Finley Twelve months have passed, but the Tattersalls When the Wesley Ward-trained Banree (Macho Uno), Craven Breeze-up Sale headline looks remarkably similar a filly facing males, won yesterday=s second race at to last year, with a Mocklershill-consigned son of War Keeneland, the outcome couldn=t have come as a Front (lot 113) selling to the Coolmore team to head surprise to anyone. The proceedings. The top price of 850,000gns was slightly race was a 4 1/2-furlong more modest than last year=s 1.15 million gns maiden event in the sales-topper, but it was still 500,000gns clear of the spring at Keeneland. And rest of the catalogue, and the second-highest price ever doesn=t Ward win every paid at a European breeze-up auction. one of those things? Jamie McCalmont Well, not exactly. But did the bidding last sometimes it seems like year, but this time it. Arguably no trainer in around his former the history of racing has assistant Alex Elliott Banree beating the boys in ever been more dominant was charged with the Thursday’s second race at in one particular aspect of responsibility, and was Keeneland Coady photography the sport. When it comes pushed all the way to to early season maiden hammer fall by the races, Ward=s record is pretty close to off the charts. -
Coates Sewing and Dress Making Manual
7dS (Li — f==Tsg=ir=sn ^nr^irr^ir^mi h—ir-^-nr^ir^nr i r | S Coates Sewing and Dress Making Manual V— 3F=IF=qJ mmmm f mmmm (T \ r \ s 3 3 3 3 PRICE s 5 ONE DOLLAR 3 KlM* S I wI %# PUBLISHED BY L. T. COATES & COMPANY CLEVELAND, OHIO ^it=^t^ r==ai r====it==^tag=nf==^ j _if=nn=ii„ n »==i [==v==ir^ <gCI;A31i88l7 ^ DRESSMAKING SPECIALTIES Without Shoulder Form Long ci Ready] Made loulder cms Pitied "Waist Lining EAL, PRACTICAL HELPS FOR THE HOME and the Professional Dressmaker. Designed for the trade and now sold in leading Dry Goods Stores everywhere. Carefully manufactured of best ma- or terials for correct tailoring of garments in prevailing styles. Made You cannot make anyone of these essentials for anywhere near the price, nor after hours of tiring effort obtain the perfect fit / Coat they insure. Use one or all and Fronls , \ Save Time, Money, Work and Worry A— Perfected, almost finished lining for tight-fitting waists, on new principle; ready for draping, has hooks and eyes; boned with hasted seams ahove;open front or hack. Order by exact size of your waist, not bust measurement. Linolawn. 75c., Bray, white or nlack percaline, SI. 00; silk Corsica, $3.50 to $4.00. B—Produce any shoulder effect desired; greatly improve appearance of garment; 15 cents a pair. C—Tailor made. (1) front for long coat, of thoroughly shrunken linen canvas reinforced with hair-cloth and felt; 50 cents to $1.00 (CSS) Eton front, for short coats; very helpful in alter- ing or reinforcing fronts, 35 and 50 cents.