DOCSLIB.ORG

The Three Faces of Eve: the Post-War Housewife, Melodrama and Home Justine Lloyd and Lesley Johnson, University of Technology, Sydney [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Three Faces of Eve: the Post-War Housewife, Melodrama and Home Justine Lloyd and Lesley Johnson, University of Technology, Sydney Justine.Lloyd@Uts.Edu.Au The Three Faces of Eve: the post-war housewife, melodrama and home Justine Lloyd and Lesley Johnson, University of Technology, Sydney [email protected] Introduction In this paper we wish to trouble a received history of popular cultural narratives which understands all cultural production in the 1940s and 50s as underpinned by dominant ideologies of the home as women’s proper place. In a longer study, which discusses several post-war lms that feature housewives as main characters, we show that these lms are not so much concerned with promoting domesticity as women’s proper social role as arguing with it (Johnson and Lloyd forthcoming). We suggest that these housewife characters must work through a problematisation of the home; that is, the discourse of self-determination that requires the individual to leave home behind, while still maintaining a gendered identity. These women must be modern citizens, yet still feminine. We suggest that popular lms of the 1940s and 50s therefore express an historically formed emotional ambivalence to the gure of the domestic woman. In this respect, our analysis differs from the analysis of the woman’s picture discussed in Mary Ann Doane’s book, The Desire to Desire. In 1940s lms aimed at a female audience, Doane identies narrative conventions operate to exclude women from occupying identities of maternal reproduction and economic production simulta- neously (Doane 1987). We instead redirect this debate about the representation of women in lm to focus on the ways that the domestic has been gured as a contested space of subjectivity for both women and men. The home in lm offers a space of realisation for female identity, and in the lms that we study, embodied the place at which modern life was articulated and could be ‘brought home’, representing the frag- ile locus of a new world that had been promised before the war. Films produced for a female audience in the 40s and 50s worried over the questions that also concerned women’s magazines and marriage guidance manuals: how much should a woman care about her home? how should she deal with the tension between for her desire for own identity as a modern individual and the inevitable sublimation of her self into her social roles as mother and wife? what did the good (and bad) housewife do and what did she look like? Here, in a comparison between two lms, one from the 40s and one from the 50s, we wish to suggest that transformations in the gure of the ‘housewife’ during this period represent an important shift in women’s a shift in housework as a kind of gendered labour to housewifery as a solidied gendered identity. The average woman does put her life completely in her husband’s hands…1 Representations of home in the lms of the 1940s and 50s can be read as suggest- ing ongoing changes to the identity of the housewife. Popular lms demonstrated the contemporary changes in the agency of the housewife, debated the cultural value of her work in the home, and showed how femininity was an identity constituted and interrupted by other political forces (particularly class, race, nation). These ten- sions were developed through a melodramatic structure of feeling, that is manifest in characters’ lives as an emotional economy of excess and lack: either the housewife was tragically indifferent to, or over-invested in her home and family; she was either insufciently open to modern ideas of the home or marriage, or she was a victim of Koivunen A. & Paasonen S. (eds),Conference proceedings for affective encounters: rethinking embodiment in feminist media studies , University of Turku, School of Art, Literature and Music, Media Studies, Series A, N:o 49 E-book at [http://www.utu./hum/mediatutkimus/affective/proceedings.pdf], Media Studies, Turku 2001. _affective encounters_ modernisation by embracing it too intensely. This problematisation of the housewife -- as a mode of femininity caught between tradition and modernity -- certainly contributed to the devaluation of wom- en’s work and the projection of negative traits of over-mothering, immersion in the private sphere and excessive consumption onto the gure of the domestic woman. Yet this problem of modern womanhood also revealed the dimensions of social change and the new role of women in the market economy of the post-war period. The narratives of the lms we examine construct the married woman as facing a series of limited options. At the one extreme, she can become like a man and express an autonomous self, which means she must be opposed to her family and focused on the world of work. At the other end of the spectrum, she can throw herself into femininity and her own identity in her family to the point of living her life through others and circumscribing their own expression of autonomy. The equivalence of the role of housewife with a feminine identity is the exact problem of these lms, and one that their main characters must resolve or resign to by the end of the last reel. The ‘desire to desire’ , named as the subject of these lms by Mary-Ann Doane, is the problem of the ctional housewife, yet it also the desire to desire ‘properly’, that is her task. Through the plots and twists of these lms, modernity is also problema- tised, and an alternative experience of modernity is shown to operate for women. The desire to be modern, while maintaining links to family and tradition are the terms of women’s modernity, constructed through the opposition that Nancy Armstrong has identied of the household as a centrifugal force tempering the effects of the market- place as a centripetal force (Armstrong 1987, p.95). In her study of women’s writing of the eighteenth and nineteenth century, Armstrong observes that the “writing of female subjectivity opened a magical space in the culture where ordinary work would nd its proper gratication and where the very objects that set men against each other in the competitive marketplace served to bind them together in a community of common domestic values.” (Armstrong 1987, p.95). These lms open up a simi- larly ‘magical’ space in which both feminine faults and virtues were magnied into entire characters, and the home became the site of a problematisation of the divisions between the public and the private, the marketplace and the domestic. This problematisation is not equivalent to the notion of the housewife as an embodiment of feminine pathology that emerged in a number of key texts before and after the 1950s. From Freud’s essay on the hysterical teenager, Dora, and her house-obsessed mother, to Friedan’s Feminine Mystique, the persona of the frus- trated housewife displays the projection of lack and a devaluing by both women and familial experts of the home (Freud 1977;Friedan 1983). The home, while modern- ised and brought up-to-date in the 1950s by the latest domestic and communica- tions technology and the popularisation of techniques of child-rearing, relationship management, dietary and health advice has remained unassimilable to the site of the real action of modernity: the public sphere gured in the world of work and the streets of the modern city. But in the 1950s a dissatisfaction with the capacities and responsibilities of housework cast the emotional state of the housewife as a case of arrested or incomplete development within the terms of modernity: her daily life characterised by repetition rather than progress; her association with cleaning, child- rearing and dreary routines of shopping a worker who produced no product; and her spatial connement to the home crucially outside the urban and public world of mass culture and the dynamics of spectacular changes and developments in modernity. As this paper on the lms of the period will show through an account of representations of this space, any vision of the domestic as temporally and spatially other to moder- nity was not easily accepted by women who occupied and shaped it. 139 _affective encounters_ Denitions of Melodrama The prolic feminist criticism of melodrama in the 1980s was signicant for historicis- ing of categories of feeling and sentiment (Gledhill 1987). Drawing on Raymond Wil- liams’ recognition of the salient relationship between political change, social catego- ries and emotions, feminists investigation of the structures of feeling in the genre emerged at the same time as the appearance of the domestic as a setting and women as protagonists (Williams 1966). Because melodrama as a genre works through an opposition between romance and the ordinary, it takes the material of everyday life and expands and hyperbolises emotions contained within it. Thus the emotional mode of melodramatic heroines has been called ‘hysterical’ by Lacanian-inuenced feminist theorist Joan Copjec, in an interesting discussion of melodrama as a feminised sublime (Copjec 1998). However, the ways that melodrama uses a hysterical mode to amplify “the gestures of suffer- ing”, according to Copjec, is not a sign of women’s irrationality or the text’s unreality, but “like wrestling”, “in a world which is unsure what justice should look like” the genre “manages justice… so that virtue always wins out” (Copjec 1998, p.260). When Richard Dyer reects on his mother’s pleasure in watching and identication with the very British melodrama, Brief Encounter, he seeks to understand the ways that the lm’s main character yearns for, and ultimately is refused, the possibility of passion in stable, normal, middle-class culture (Dyer 1993, p.38-40). He also comments, in a section of his essay titled ‘So English’, on how the lm claims to observe the social world of post-war Britain, through its outdoor locations and use of the signs of every- day repetition and the authentic speech of characters culture (Dyer 1993, p.41-65).
Load more

Recommended publications
  • Trauma, Dissociation, and Amnesia: Myths and Reality in Cinema and Life
    Trauma, Dissociation, and Amnesia: Myths and Reality in Cinema and Life A look at the psychological responses to trauma that include dissociation and amnesia, phenomena which are often misunderstood in the media and public perception. After looking at models that explain common responses to trauma, including post-traumatic stress, traumatic amnesia, and dissociative identity disorder (formerly called multiple personality disorder), we will screen five films that portray these conditions in various contexts. All are Hollywood produced. The stories have sometimes been manipulated to add drama so as to appeal to popular audiences, which is one of the dynamics this course will examine. Session 1 / Jan 31, 2020: Lecture/discussion: An overview of the mechanisms and dynamic of memory and the ways in which it is subject to traumatic distortion, dissociations and episodes of amnesia. We will focus on understanding dissociative and amnestic responses to trauma as defensive and self-protective mechanisms. When seen in this context, behaviors that often seem bizarre begin to make sense. Session 2 / Feb 7: Prince of Tides (1991) / the screen adaptation of Pat Conroy’s portrayal of the range of responses to childhood trauma in a dysfunctional, violent family. Starring Barbra Streisand and Nick Nolte, the film was also directed and produced by Streisand. Session 3 / Feb 14: The Three Faces of Eve (1957) / The Hollywood portrayal of a real-life case of dissociative identity disorder. This is the film that brought the phenomenon of multiple personalities to public attention, was highly acclaimed when it was released, and set up beliefs about multiplicity that lasted for decades.
    [Show full text]
  • Representations of Mental Illness in Women in Post-Classical Hollywood
    FRAMING FEMININITY AS INSANITY: REPRESENTATIONS OF MENTAL ILLNESS IN WOMEN IN POST-CLASSICAL HOLLYWOOD Kelly Kretschmar, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Harry M. Benshoff, Major Professor Sandra Larke-Walsh, Committee Member Debra Mollen, Committee Member Ben Levin, Program Coordinator Alan B. Albarran, Chair of the Department of Radio, Television and Film Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Kretschmar, Kelly, Framing Femininity as Insanity: Representations of Mental Illness in Women in Post-Classical Hollywood. Master of Arts (Radio, Television, and Film), May 2007, 94 pp., references, 69 titles. From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood’s post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman’s behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films’ ideologies with regard to mental illness and femininity. Copyright 2007 by Kelly Kretschmar ii TABLE OF CONTENTS Page Chapter 1. INTRODUCTION ......................................................................................... 1 Historical Perspective ........................................................................ 5 Women and Mental Illness in Classical Hollywood ...............................
    [Show full text]
  • Movies and Mental Illness Using Films to Understand Psychopathology 3Rd Revised and Expanded Edition 2010, Xii + 340 Pages ISBN: 978-0-88937-371-6, US $49.00
    New Resources for Clinicians Visit www.hogrefe.com for • Free sample chapters • Full tables of contents • Secure online ordering • Examination copies for teachers • Many other titles available Danny Wedding, Mary Ann Boyd, Ryan M. Niemiec NEW EDITION! Movies and Mental Illness Using Films to Understand Psychopathology 3rd revised and expanded edition 2010, xii + 340 pages ISBN: 978-0-88937-371-6, US $49.00 The popular and critically acclaimed teaching tool - movies as an aid to learning about mental illness - has just got even better! Now with even more practical features and expanded contents: full film index, “Authors’ Picks”, sample syllabus, more international films. Films are a powerful medium for teaching students of psychology, social work, medicine, nursing, counseling, and even literature or media studies about mental illness and psychopathology. Movies and Mental Illness, now available in an updated edition, has established a great reputation as an enjoyable and highly memorable supplementary teaching tool for abnormal psychology classes. Written by experienced clinicians and teachers, who are themselves movie aficionados, this book is superb not just for psychology or media studies classes, but also for anyone interested in the portrayal of mental health issues in movies. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and scenes from one or two specific, often well-known “A classic resource and an authoritative guide… Like the very movies it films to explain, teach, and encourage discussion recommends, [this book] is a powerful medium for teaching students, about the most important disorders encountered in engaging patients, and educating the public.
    [Show full text]
  • Twentieth Century Fox: 1935-1965
    The Museum of Modern Art For Immediate Release June 1990 Twentieth Century Fox: 1935-1965 July 1 - September 11, 1990 This summer, The Museum of Modern Art pays tribute to Twentieth Century Fox with a retrospective of over ninety films made between 1935 and 1965. Opening on July 1, 1990, TWENTIETH CENTURY FOX: 1935-1965 traces three key decades in the history of the studio, celebrating the talents of the artists on both sides of the cameras who shaped this period. The exhibition continues through September 11. Formed in 1915, the Fox Film Corporation merged in 1935 with the much younger Twentieth Century to launch a major new studio. Under the supervision of Darryl F. Zanuck, Twentieth Century Fox developed a new house style, emphasizing epic biographies such as John Ford's The Prisoner of Shark Island (1936) and Allan Dwan's Suez (1938) and snappy urban pictures such as Sidney Lanfield's Hake Up and Live (1937) and Roy Del Ruth's Thanks a Million (1935). The studio also featured such fresh screen personalities as Tyrone Power, Alice Faye, and Shirley Temple. From this time on, the studio masterfully anticipated and shaped the tastes of the movie-going public. During World War II, Twentieth Century Fox made its mark with a series of exuberant Technicolor musicals featuring such actresses as Betty Grable and Carmen Miranda. After the war, the studio shifted focus and began to highlight other genres including films noirs such as Edmund Goulding's Nightmare Alley (1947) and Otto Preminger's Where the Sidewalk Ends (1950), wry satirical films such as Joseph L.
    [Show full text]
  • Memory, Trauma, Dissociation and Amnesia
    Memory, Trauma, Dissociation and Amnesia OLLI at Illinois Spring Semester 2020 More conversation, anyone? • IF anyone would like to join me for conversation (and maybe some beer or wine) after the class, please come find me at the end of class. Everyone is welcome. Why this course • This course is an exploration of the human experience of memory, trauma, dissociation, and amnesia. It is also about the way in which we talk about these experiences and how we create narratives that make sense of and allow us to share the experience. Movies to help us explore these issues • The prince of tides / 1991 • Three faces of eve / 1957 • Sybil / 1976 • Frankie and Alice / 2010 • Collateral Beauty / 2016 The creation of Narrative Let me tell you what I wish I'd known When I was young and dreamed of glory You have no control Who lives, who dies, who tells your story? And when you're gone, who remembers your name? Who keeps your flame? Who tells your story? Lyrics from the musical Hamilton Players in the creation of narrative • The subject • The observer / psychiatrist (in most of the stories we explore) • The interpreter • The recorder THE PRINCE OF TIDES • Based on a book by Pat Conroy • Film credits screenplay to Pat Conroy and Becky Johnson • Directed by Barbra Streisand • Released in 1991 • Described in Wikipedia as “an American romantic comedy’ (HAH ! ! ! ! ) • NO academy awards but Nick Nolte received three best actor awards from other sources Questions and conversation • Does the film work? • Does it tell a cohesive story? • Does it do justice to the complicated issues of memory, trauma, and amnesia? Diagnose the characters • Tom Wingo • Traumatized • Savannah Wingo • Amnesia • Lila Wingo • PTSD • Henry Wingo • Dissociative Identity • Luke Wingo Question from last week • Toward the end of the film, when they are embracing out on the sidewalk across from her office, she says, • “I gotta find me a nice Jewish boy.
    [Show full text]
  • Using Film to Teach Psychology: a Resource of Film Study Guides
    USING FILM TO TEACH PSYCHOLOGY: A RESOURCE OF FILM STUDY GUIDES Elizabeth M. Nelson, Christian Brothers University (2002 Instructional Resource Award Recipient) Overview This 106-page resource offers instructors tools for using films to enhance their instruction. Student evaluations consistently indicate that films help them learn the topics, provide an alternative to traditional lectures, and give them a different point of view. However, students also say they do not like to view films if they do not understand the relevancy of the film to the course material. This resource gives teachers of psychology additional tools for using film, such as tested study guides, sample syllabi, student papers, references, and Internet resources. The film study guides contained in this resource have been used in a variety of psychology classes, and may be applicable to a variety of other courses. Outline of Contents Introduction How to Use the Study Guides List of Study Guides by Topic and Film/s References Filmography Sample Syllabi Sample Paper ___________________________________ Author contact information: Elizabeth M. Nelson, Ph.D., Christian Brothers University, Department of Psychology, 650 East Parkway South, Memphis, TN 38104 ([email protected]) Copyright 2006 by Elizabeth M. Nelson. All rights reserved. You may reproduce multiple copies of this material for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution and the Office of Teaching Resources in Psychology heading or other identifying information appear on the copied document. No other permission is implied or granted to print, copy reproduce, or distribute additional copies of this material.
    [Show full text]
  • Critiquing Psychiatry, Narrating Trauma: Madness in Twentieth- Century North American Literature and Film
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-10-2020 11:00 AM Critiquing Psychiatry, Narrating Trauma: Madness in Twentieth- Century North American Literature and Film Sarah Blanchette, The University of Western Ontario Supervisor: Phu, Thy, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in English © Sarah Blanchette 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Recommended Citation Blanchette, Sarah, "Critiquing Psychiatry, Narrating Trauma: Madness in Twentieth-Century North American Literature and Film" (2020). Electronic Thesis and Dissertation Repository. 7213. https://ir.lib.uwo.ca/etd/7213 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation explores representations of trauma and mental distress in twentieth-century novels and films. Drawn on research that emphasizes the ways that marginalized communities— in particular women-coded, racialized, and Indigenous persons—have historically been pathologized, the thesis considers how select novels
    [Show full text]
  • By Doug Mcclelland (From Film Fan Monthly, October 1973)
    by Doug McClelland (from Film Fan Monthly, October 1973) I have written about many film actresses in my time, but never about one as anonymous as Mary Field . I also have never written about one who has been in more movies. It is a testament to the overflow wealth of the screen's peak years that in preparing this article (with not inconsiderable t research resources) I was unable to unearth any biographical material on Field, an accomplished character woman in probably a couple of hundred films from the 1930s to the 1960s. Obviously taken for granted not only by writers but by studios and fans, Field just may have been the medium's most ubiquitous female during that epoch—excepting, of course, "Queen of the Hollywood Extras" Bess Flowers, inevitable and distinguished in her feather-cut fringes . Field, however, was an actress, and while her parts sometimes were so small she went unbilled, they were polished with a rare skill that has not tarnished. The slender Field, of indeterminate age and as plain-featured as her name, had a rather parroty nose and a none-too-prominent chin, with dark hair plainly coiffed . Understandably, prim 1 types became her specialty, yet she brought to all such immac- ulate diction and Stanislaysky-like immersion—without sacrificing Mar Field 153 the parade of Irish servants dispatched by father William Powell's bluster; in Where There's Life (1947), the Bob Hope–frightened hotel help who shrieked "Love fiend!" ; and in Top o' the Morning (1949), the Irish maid who sang a duet with Bing Crosby.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    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. Horror of Personality: Exploring the gothicisation of mental illness in American fiction of the long 1950s Victoria Margaret Madden PhD English Literature University of Edinburgh 2019 i DECLARATION I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where states otherwise by reference or acknowledgment, the work presented is entirely my own. Signed: Victoria M. Madden ii This page is intentionally left blank iii ABSTRACT This thesis examines the gothicisation of mental illness — specifically, disorders of personality — in American fiction, as illustrated through four popular novels written in the long 1950s. In so doing, this thesis aims to demystify not only the complex intersections between American history and literature, but also the nation’s ambivalent relationship with psychiatry and its fascination with psychological explanations for deviance and evil.
    [Show full text]
  • Vol. 15 No 36 Sept 26 2019
    VOL. 15 NO. 36 GRAHAMSVILLE, NY 12740 SEPTEMBER 26, 2019 $1.00 • Local Weather Pg 8 • Mysterious Book Report John D. McKenna Pg 4 • The Olive Jar Carol La Monda Pg 6 • The Scene Too Jane Harrison Pg 11 Sullivan County Dramatic Workshop 2019 Productions - See ad on Page 16 Congratulations to Tri-Valley The Pumpkins are Here for the Speech Language Pathologist 34th Annual Giant Pumpkin Party! The Tri-Valley Teachers' Join us for the 34th Association (TVTA) Annual Giant Pumpkin would like to recognize Party and Children's and congratulate Mrs. Parade held Saturday, Samantha Price for recent- Octob-er 5, 2019 from ly receiving tenure as a 9:00 a.m. to 4:00 p.m. Speech Language There will be entertain- Pathologist at Tri-Valley ment for all and plenty Central School. of contests with cash Samantha has been at Tri- prizes! Like the Giant Valley for four years now. Pumpkin Contest! The Before coming to Tri- Theme Float contest! Valley, she also worked at Pump-kin Decorating Monticello school in a and Design a Scarecrow leave replacement posi- Contest! The all new tion. (Contd. Pg. 2) Country Bake Contest! And the 28th Annual Hay Bale Throw NEW!! The Townsman Contest! For more infor- Local Artist/Crafter of the Month mation, call the Daniel Pierce Library at (845) 985-7233 or visit the Two Artists Giant Pumpkin Party page on the library website www.danielpiercelibrary.org. with the Same Passion This year's theme is A UNIVERSE OF STORIES! It's a family day out in the country with something for every- My name is Tina and my fiance's name one -pony rides, petting zoo, hay rides, hay maze, a Better Book Sale, and other amusements! This year entertain- is Michael.
    [Show full text]
  • Less Restrictive Sign Ordinance Supported by Representative of Westfield Board of Realtors
    !.-'?;.•••• • /•All! - r 4- '.' . '•• ' • ' «• .- -'','-.• ;iV;-oi .,•'-" - si •./>- '-.' •--^•'•X'.?% .'.'-'.'. • •..- ,-'"*•* v'1^**] 1 0 •..• •- --J- • i -', - -t" . .-•V'.. n 09 0- o .;;:. 0- h- Cr UJ 0- ; ; Q •.'• •• --••'••• v"- .A O D ' • -.'•''•'• '• ,-• i tt a: EL '__ Serving thtTown Since 1890— • i ii< h. 1 T OURltMYBA! 0 Thursday, March M, I Wl 232-1407 FORTY CENTS n ES SIX-MONTH LIMIT ON PLACEMENT ADVOCATED Less Restrictive Sign Ordinance Supported by Representative Of Westfield Board of Realtors Schedule of Fines Preferred Over Confiscation As Leading to More Effective Enforcement ByR.R.FASZCZEWSKI A schedule of fines rather than "Bud" Boothe, Jr. said Mr. Loughlin"s confiscation of signs for violations suggestions would be considered in and a provision of a maximum of four the committee's review of the sign The Westfield Board of Realtors days to advertise open houses also regulation!!. has requested the Town Council to be was endorsed. In another action. Mayor Bagger less stringent in the town's regulation Mr. Loughlin said his organization announced he would be appointing a of commercial signs on private resi- agreed with restriction of the signs to blue ribbon panel of residents who dences when it considers changes to- the property of the home which is up are experts in insurance to review the the regulations. for sale and with regul ations prohib- town's property, casualty and liabil- INDAYSGONEBV-TlMCMMrm'tCouiitryKoM.MwCliildim'iSptcMli^HoBHallnMauntdiutd* At Tuesday night's council meet- . mnmti 191*. Even In that tarty era In* hotpitap l alreadry y wu treating naMkappat pp l cMMnpip,, litdudlnf f,, tboM victimized iting the nailing of open house signs ity packages and recommend changes by tli« taflwnxa «idMk of 1*11.
    [Show full text]
  • Music and the Monster: Sounding Fear and Mental Illness in Criminal Minds
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2019 MUSIC AND THE MONSTER: SOUNDING FEAR AND MENTAL ILLNESS IN CRIMINAL MINDS Andrew James Borecky University of Tennessee, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Recommended Citation Borecky, Andrew James, "MUSIC AND THE MONSTER: SOUNDING FEAR AND MENTAL ILLNESS IN CRIMINAL MINDS. " Master's Thesis, University of Tennessee, 2019. https://trace.tennessee.edu/utk_gradthes/5459 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Andrew James Borecky entitled "MUSIC AND THE MONSTER: SOUNDING FEAR AND MENTAL ILLNESS IN CRIMINAL MINDS." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Jacqueline Avila, Major Professor We have read this thesis and recommend its acceptance: Nathan Fleshner, Rachel Golden Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) MUSIC AND THE MONSTER: SOUNDING FEAR AND MENTAL ILLNESS IN CRIMINAL MINDS A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Andrew James Borecky May 2019 Copyright © 2019 by Andrew James Borecky All rights reserved.
    [Show full text]