DOCSLIB.ORG

Fml: How Carson Mccullers Saved My Life

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fml: How Carson Mccullers Saved My Life Steppenwolf for Young AdultS 2011/12 study guide fml: how Carson McCullers saved my life February 28- March 18, 2012 By Sarah Gubbins Directed by Joanie Schultz The Young ADulT CounCil wiTh SYA APPRENTiCe NIJEUL PoRTeR Dear Teachers & StuDenTs: Welcome To The seconD Gubbins’ play is about the way one reading, and classroom activities to shoW of The 11/12 deals with, and ultimately overcomes, guide your examination of these SteppenWolf for Young adversity. As with Carson McCullers’ productions. If further questions arise aDulTs season! character John Singer, Gubbins creates for you, or if you need anything vivid, dynamic “outsider” characters, regarding your visit to the theatre, This year’s season offers an exploration and then shows us the courageous please contact us. of the process by which a piece of ways these individuals search for literature evolves through adaptation community and connection despite their We look forward to welcoming you and reinterpretation. We explore the “otherness.” fml is about being bold to Steppenwolf and investigating way original work can be born from enough to know who you are, strong fml: how Carson McCullers saved the ideas and themes of a classic text– enough to stand up for yourself, and my life with you. how the compelling work of one artist fearless enough to survive high school. can prompt a bold response and fresh Gubbins created fml based on inspira- -Hallie, Megan & Lauren story of another. We are thrilled to tion she drew from McCullers’ classic involve students in this inter-gener- novel. Her story shows us that literature ational conversation across time and still has the power to transform how across forms, from the book by Carson we see the world. We look forward McCullers to Rebecca Gilman’s play to discovering what inspires you? The Heart is a Lonely Hunter as well Throughout this study guide, you will as our second production this winter, see references to both plays in Sarah Gubbins’ artistic response, fml: our season as well as questions for how Carson McCullers saved my life. the classroom, suggestions for further 1 inDex Welcome leTTer 1 Who is carson mccullers? 3 author of The Heart is a Lonely Hunter Who is sarah gubbins? 4 Playwright of fml The hearT is a lonelY hunTer 5 Synopsis and Character Descriptions fml: hoW carson 7 mccullers saveD mY life Synopsis and Character Descriptions Steppenwolf for Young AdultS StAff jo’s superhero: St. michael 9 The archangel Hallie gordon Artistic and educational director [email protected] classroom acTivity 11 312-654-5607 Writing Exercise, inspired by fml (30 min.) Megan Shuchman education Manager [email protected] Young aDulT council 16 312-654-5637 LGBTQ Terms: DefineD 17 lauren Sivak education Assistant [email protected] LGBTQ Teen issues: 19 312-654-5643 hoW You can help AccessibilitY snapshoT: ‘iT geTs 21 Audio description and touch tour beTTer projecT’ SUN MArcH 18 3:00pM classroom acTivity 23 American Sign language-interpreted Inspired by the ‘It Gets Better Project’ SAt MArcH 17 7:30pM (45 min.) open captioning SUN MArcH 18 3:00pM for furTher reaDing 27 Scene event for teens scene evenTs 28 SAt, MArcH 10 7:30pM ~come get play’ed acknoWleDgemenTs 29 STUDY GUIDE curAted bY Megan Shuchman ArticleS bY Megan Shuchman, lauren Sivak and nijeul porter edited bY Hallie gordon SpeciAl thankS to deanna isaacs, The Chicago Reader 2 biographical informaTion for carson mccullers Who is carson mccullers? Author of The Heart is a Lonely Hunter Carson McCullers was born Lula Georgia, McCullers stayed in New In addition to reaching literary stardom Carson Smith in 1917 to a middle class York, rubbing elbows with such writers at age 23 with The Heart is a Lonely family in Columbus, Georgia. From a as W.H. Auden, Gypsy Rose Lee and Hunter, throughout her successful young age, she showed promise as Reeves McCullers, whom she married career, McCullers wrote four novels, a a musician, and by age 10 was studying at age 20. Inspired by these writers, handful of short stories, a Broadway hit, piano and making ambitious plans to as well as Russian authors Dostoyevsky, The Member of the Wedding and a one day become a famous pianist Chekhov and Tolstoy—with whom collection of poems. She was awarded and composer. McCullers was endlessly fascinated— two Guggenheim fellowships, an Arts she began writing seriously and by and Letters Grant, and the New York At age 17, McCullers’ family made age 21, had her short fiction published Drama Critics’ Circle Award. significant sacrifices to send her to in Story, Harper’s Bazaar and study music at The Juilliard School in The New Yorker. McCullers and her Plagued throughout her life by New York City. On the train ride to her husband had a very contentious but the lingering side effects of rheumatic first day of class, however, McCullers passionate relationship, breaking up fever contracted as a teenager, tragically lost her tuition money and getting back together numerous McCullers died in 1967 at age 50, just and with it, her dream of becoming a times and living in both New York days before shooting began on the composer like Beethoven, Mozart and abroad, until Reeves committed film adaptation of The Heart is a or Schumann, all of whom she greatly suicide in 1953. Lonely Hunter. admired. Instead of heading back to 3 biographical informaTion for sarah gubbins Who is sarah gubbins? playwright of fml: how Carson McCullers saved my life Growing up in suburban LaGrange, it This is really embarrassing.” Out of teenager. And I had to go through a took playwright Sarah Gubbins, college, unconvinced of her talent but huge awakening as a writer. And I had now 36, a long time to realize that she unwilling to give up on a life in theater, very influential English teachers. All was gay. She sailed straight through 12 she started working as a freelance these things happened to me.” But, she years of Catholic schooling as a dramaturge and turned out to be good cautions, there’s a crucial difference: tomboy—great at sports, passionate at it. The best thing that happened, about golf, and, she says, blithely Gubbins says, is that she started “i Wasn’T ouT When i Was unaware of her sexuality. It wasn’t until specializing in new work: “I actually got a Teenager. in some WaYs college that it started to dawn on her, into the room with some new plays, and [This characTer] is mY and even then, “It took me falling in love, that’s when I learned, this is how you super-hero self, The Teen and falling in love, and falling in love, make a play, this is how you rewrite, this i Wish i haD been.” and then realizing—oh, there’s a trend is how you look for incident.” here: they all seem to be female.” It took Gubbins says she finds today’s her even longer to discover that she Gubbins says her work is political adolescents who are out “astonishing- was a playwright. A theater major as an not autobiographical despite those ly brave and inspiring.” The times undergrad at Northwestern University, who may find that hard to believe. are different, of course. There was Gubbins took a series of writing classes Her protagonist Jo, in fml: how no gay-straight alliance when she was with playwright John Logan, who was in Carson McCullers saved my life, in high school. And the whole residence during her senior year. Those is a lesbian, growing up in LaGrange. notion that gays would be married? classes were “amazing,” she says, but Not autobiographical? “Not “Unbelievable,” she says. Now, “there’s she came out of them thinking, “I’m not autobiographical at all,” Gubbins more visibility. You don’t have to (Anton) Chekhov, I’m not Caryl Churchill. says. “Listen, I’m gay. And I was a presume that everybody’s straight. And yet the homophobia, homo hatred, gay bullying continues.” As a sexually oblivious tomboy in LaGrange, Gubbins “wasn’t chased, wasn’t identified,” never suffered the beating inflicted on her protagonist. “It’s so complicated,” she says. “What is it about being out and confident that is so threatening to other people?” “Things are so much better today, and absolutely as bad.” by deanna issacs reprinted with permission from The Reader, August 25, 2011 PlaywRighT sarah gubbinS (RighT) in Rehearsal 4 harry (niCk vidal) AnD miCk (Jessica honoR carleTon) IN tHe HeArt iS A lonelY Hunter, 2011 the heart is a Lone Ly hunter Synopsis |:The Heart Is a Lonely Hunter follows John Singer, a deaf man who resides in a local boarding house, and four other vivid but desperately lonesome residents in a Georgia mill town during the 1930s on the eve of the Great Depression. Mick Kelly, a 14-year-old tomboy who dreams of becoming a concert pianist; Benedict Copeland, the town’s only black doctor; Jake Blount, a drunken political activist; and Biff Brannon, a recent widower and owner of the town’s diner and bar. As each finds solace in Singer’s ability to listen, they all unintentionally overlook their confidante’s profound isolation in this timeless tale woven from the lives of ordinary people. 5 The hearT is a lonelY hunTer miCk (Jessica honoR carleTon) watcheS as John SingeR (RoBert SChleifeR) JAke BlounT (LOREN lAZARINE) trieS CommunicateS wiTh Mr. kellY (AlAn wilDeR) To enCourage hiS fellow woRkers To fighT foR TheiR Rights character descriptions John Singer Dr. copelanD Jake Blount John Singer, a deaf man who works as a As the only black doctor in town, A wanderer and an alcoholic prone to silver engraver at a local jewelry store, is Dr.
Load more

Recommended publications
  • P R O S P E C T
    PROSPECTUS CHRIS ABANI EDWARD ABBEY ABIGAIL ADAMS HENRY ADAMS JOHN ADAMS LÉONIE ADAMS JANE ADDAMS RENATA ADLER JAMES AGEE CONRAD AIKEN DANIEL ALARCÓN EDWARD ALBEE LOUISA MAY ALCOTT SHERMAN ALEXIE HORATIO ALGER JR. NELSON ALGREN ISABEL ALLENDE DOROTHY ALLISON JULIA ALVAREZ A.R. AMMONS RUDOLFO ANAYA SHERWOOD ANDERSON MAYA ANGELOU JOHN ASHBERY ISAAC ASIMOV JOHN JAMES AUDUBON JOSEPH AUSLANDER PAUL AUSTER MARY AUSTIN JAMES BALDWIN TONI CADE BAMBARA AMIRI BARAKA ANDREA BARRETT JOHN BARTH DONALD BARTHELME WILLIAM BARTRAM KATHARINE LEE BATES L. FRANK BAUM ANN BEATTIE HARRIET BEECHER STOWE SAUL BELLOW AMBROSE BIERCE ELIZABETH BISHOP HAROLD BLOOM JUDY BLUME LOUISE BOGAN JANE BOWLES PAUL BOWLES T. C. BOYLE RAY BRADBURY WILLIAM BRADFORD ANNE BRADSTREET NORMAN BRIDWELL JOSEPH BRODSKY LOUIS BROMFIELD GERALDINE BROOKS GWENDOLYN BROOKS CHARLES BROCKDEN BROWN DEE BROWN MARGARET WISE BROWN STERLING A. BROWN WILLIAM CULLEN BRYANT PEARL S. BUCK EDGAR RICE BURROUGHS WILLIAM S. BURROUGHS OCTAVIA BUTLER ROBERT OLEN BUTLER TRUMAN CAPOTE ERIC CARLE RACHEL CARSON RAYMOND CARVER JOHN CASEY ANA CASTILLO WILLA CATHER MICHAEL CHABON RAYMOND CHANDLER JOHN CHEEVER MARY CHESNUT CHARLES W. CHESNUTT KATE CHOPIN SANDRA CISNEROS BEVERLY CLEARY BILLY COLLINS INA COOLBRITH JAMES FENIMORE COOPER HART CRANE STEPHEN CRANE ROBERT CREELEY VÍCTOR HERNÁNDEZ CRUZ COUNTEE CULLEN E.E. CUMMINGS MICHAEL CUNNINGHAM RICHARD HENRY DANA JR. EDWIDGE DANTICAT REBECCA HARDING DAVIS HAROLD L. DAVIS SAMUEL R. DELANY DON DELILLO TOMIE DEPAOLA PETE DEXTER JUNOT DÍAZ PHILIP K. DICK JAMES DICKEY EMILY DICKINSON JOAN DIDION ANNIE DILLARD W.S. DI PIERO E.L. DOCTOROW IVAN DOIG H.D. (HILDA DOOLITTLE) JOHN DOS PASSOS FREDERICK DOUGLASSOur THEODORE Mission DREISER ALLEN DRURY W.E.B.
    [Show full text]
  • Sex, Seduction and Sedition in Restoration Literature
    2016 – 2017 ENGLISH LITERATURE THIRD YEAR OPTION COURSES 25 November 2016 English Literature - Third Year Option courses SEMESTER ONE Page American Innocence p. 3 Brecht and British Theatre (NOT RUNNING THIS SESSION) p. 6 Celtic Revivals (NOT RUNNING THIS SESSION) p. 8 Cities of Words p. 10 Creative Writing: Prose * p. 12 Edinburgh in Fiction/Fiction in Edinburgh * [Visiting Students course] p. 16 Fiction and the Gothic p. 18 Ideology and Literature (NOT RUNNING THIS SESSION) p. 20 Medicine in Literature 1: Illness Narratives through History p. 22 Modernism and Empire p. 24 Modernism and the Market (NOT NOW RUNNING THIS SESSION) p. 26 Modern Scottish Fiction * p. 28 Novel and the Collapse of Humanism p. 30 The Body in Literature p. 31 The Making of Modern Fantasy (NOT RUNNING THIS SESSION) p. 34 Utopia: Imaginary Journeys from More to Orwell p. 37 Working Class Representations * p. 39 SEMESTER TWO Page American Gothic p. 42 Creative Writing: Poetry * p. 45 Edinburgh in Fiction/Fiction in Edinburgh * p. 48 Medicine in Literature 2: Medical Ethics in Literature * p. 50 Modern and Contemporary Scottish Poetry * p. 52 Mystery and Horror * p. 55 Poetry and Northern Ireland p. 57 Shakespeare’s Comedies: Identity and Illusion p. 60 Shakespeare: Modes and Genres p. 62 ‘We Are [not] Amused’: Victorian Comic Literature p. 64 Writing for Theatre: An Introduction* p. 66 * Courses with an asterisk have a Scottish emphasis. Note: Courses may be taught by staff in addition to the named course organiser. 2 English Literature - Third Year Option courses English Literature Third Year Semester One Option Course American Innocence Course Organiser: Dr Ken Millard The U.S.
    [Show full text]
  • The American Literature Association Alfred Bendixen, 2014 Conference Director
    American Literature Association A Coalition of Societies Devoted to the Study of American Authors 25th Annual Conference on American Literature May 22-25, 2014 Hyatt Regency Washington on Capitol Hill Washington, D.C. (202-737-1234) Conference Director Alfred Bendixen Texas A&M University Draft as of March 5, 2014 This on-line draft of the program is designed to provide information to participants in our 25th conference and provide them with an opportunity to make corrections. Participants should check the description of their papers and panels to ensure that names and titles and other information are spelled appropriately. Times of Panels: If there is a conflict in the program (i.e., someone is booked to appear in two places at the same time), please let me know immediately. The program indicates that a few slots for business meetings are still available, but it will be difficult to make other changes. You can presume that the day of your panel is now fixed in stone (and it will not change without the concurrence of every person on that panel) but it may be necessary to make minor changes in the time of a panel. Audio-Visual Equipment: The program also lists the audio-visual equipment that has been requested for each panel. Please note that it may be difficult or impossible to add any audio-visual equipment at this point, but individuals may make such requests. The ALA normally provides a digital projector and screen to those who have requested it at the time the panel or paper is submitted.
    [Show full text]
  • Carson Mccullers
    Carson McCullers: An Inventory of Her Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator McCullers, Carson, 1917-1967 Title Carson McCullers Collection Dates: 1924-1976 Extent 48 boxes (20 linear feet), 16 galley folders, 3 oversize flat files Abstract: The manuscripts and correspondence which make up the bulk of the McCullers collection principally reflect her literary life and career. RLIN Record # TXRC98-A16 Language English. Access Open for research Administrative Information Acquisition Purchases and gifts, 1967-1993 (R3856, 4289, 4591, 4498, 4957, 6041, 6604, 6605, 13058, G9650) Processed by Sally M. Nichols, 1998 Repository: Harry Ransom Humanities Research Center University of Texas at Austin McCullers, Carson, 1917-1967 Biographical Sketch Carson McCullers was born in Columbus, Georgia, as Lula Carson Smith on February 19, 1917, the first born of Lamar and Marguerite Waters Smith. Though she moved from the South in 1934 and only returned for visits, most of her writing was inspired by her southern heritage. Her mother felt she had given birth to a genius from the time Carson was very young and always remained her staunchest supporter and strongest ally. When nine years of age, Lula began studying piano and practiced six to eight hours daily, planning a career as a concert pianist. In 1930 she began using the name Carson and studying piano with Mary Tucker. Carson graduated from Columbus High School in 1933, and after her piano teacher moved away in the spring of 1934, Carson moved to New York City to study at the Juilliard School of Music. Shortly after her arrival she lost most of the money her parents had given her, and to support herself worked at various jobs and attended night classes in creative writing at Columbia and New York University.
    [Show full text]
  • FORUM: a PUBLICATION of the ALSCW Literary Study in Grades 9
    FORUM 4 • Literary Study in Grades 9, 10, and 11: A National Survey 1 FORUM: A PUBLICATION OF THE ALSCW Number 4 • Fall 2010 Literary Study in Grades 9, 10, and 11: A National Survey Sandra Stotsky with Joan Traffas and James Woodworth a Kate Oser, managing editor Katherine Hala, graphic designer Copyright 2010, all rights reserved by the Association of Literary Scholars, Critics, and Writers a Association of Literary Scholars, Critics, and Writers a 2 FORUM 4 • Literary Study in Grades 9, 10, and 11: A National Survey ACKNOWLEDGMENT Like so many research projects, this one started with a discussion. At a meeting of the Association of Literary Scholars, Critics, and Writers, several members asked: “What are high school students being asked to read today?” My response was this research project—a survey of over 400 English teachers in grades 9, 10, and 11 in public schools across the country to find out what they assign and how they approach literary study. I am grateful to the National Endowment for the Humanities for a grant to support the survey, and to the Lynde and Harry Bradley Foundation for a grant to cover the costs of publication and dissemination. I was fortunate in being able to draw on the research budget attached to my 21st Century Chair in Teacher Quality in the Department of Education Reform at the University of Arkansas and in having the University’s support for my time as Principal Investigator. I thank Kim Gillow and Molly Longstreth at the University’s Survey Research Center for assembling a representative national sample of English teachers in grades 9, 10, and 11 and for Kim’s hours in synthesizing the information gathered by the interviewers and in answering my questions about numbers and their interpretation.
    [Show full text]
  • SAXTON-THESIS.Pdf
    Abstract Grotesque Subjects: Dostoevsky and Modern Southern Fiction, 1930-1960 by Benjamin T. Saxton As a reassessment of the southern grotesque, this dissertation places Flannery O’Connor, Carson McCullers, and William Faulkner in context and conversation with the fiction of Fyodor Dostoevsky. While many southern artists and intellectuals have testified to his importance as a creative model and personal inspiration, Dostoevsky’s relationship to southern writers has rarely been the focus of sustained analysis. Drawing upon Mikhail Bakhtin’s deeply positive understanding of grotesque realism, I see the grotesque as an empowering aesthetic strategy that, for O’Connor, McCullers, and Faulkner, captured their characters’ unfinished struggles to achieve renewal despite alienation and pain. My project suggests that the preponderance of a specific type of character in their fiction—a physically or mentally deformed outsider—accounts for both the distinctiveness of the southern grotesque and its affinity with Dostoevsky’s artistic approach. His grotesque characters, consequently, can fruitfully illuminate the misfits, mystics, and madmen who stand at the heart—and the margins—of modern southern fiction. By locating one source of the southern grotesque in Dostoevsky’s fiction, I assume that the southern literary imagination is not directed incestuously inward toward its southern past but also outward beyond the nation or even the hemisphere. This study thus offers one of the first evaluations of Dostoevsky’s impact on southern writers as a group. Acknowledgements I am very thankful for my professors at Rice University for their intellectual stimulation and continued support. My advisor, Colleen Lamos, has offered me guidance and encouragement on every step of the way.
    [Show full text]
  • Authoring Bodies: White Southern Women's Writing, 1920-1940
    AUTHORING BODIES: WHITE SOUTHERN WOMEN'S WRITING, 1920-1940 By RHONDA ANN MORRIS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1997 For my mother, Lola Elizabeth Scott Morris, and in memory of my father, Raymond Alan Morris ACKNOWLEDGMENTS I have had the good fortune to have on my doctoral committee the English professors from whom I have learned the most: Marsha Bryant, Anne Goodwyn Jones, David Leverenz, and Stephanie Smith. I am indebted to them for their scholarship and instruction, their commitment to me and this project, their substantial and patient comments about my work, and their sage advice about things scholarly, professional, and personal. I want to thank my outside committee members Ofelia Schutte and Bertram Wyatt-Brown from the Philosophy and History departments for helping me place my project more solidly in the context of feminist thinking and southern history. My appreciation extends most deeply to Anne Jones, my chair, who inspired and challenged me, let me share her thoughts and books and office, and supplied me with the occasional Moon Pie. When I felt most discouraged, she cheered me up and cheered me on. University of Florida's College of Liberal Arts and Sciences and the Graduate School awarded generous fellowships that afforded me time away from teaching to research this project. My gratitude goes especially to Mrs. Frances Holmes, who sponsored my CLAS fellowship; I will never forget the lunch she treated me to, during which she iii shared her memories of course work and card-playing with "Red" Warren and her cottage-cheese and beer dinner with the Allen Tates.
    [Show full text]
  • Print Format
    Paideia High School Summer Reading 2021 © Paideia School Library, 1509 Ponce de Leon Avenue, NE. Atlanta, Georgia 30307 (404) 377-3491 PAIDEIA HIGH SCHOOL Summer Reading Program Marianne Hines – All High School students should read a minimum of THREE books “Standing at the Crossroads” – Read THREE books by American over the summer. See below for any specific books assigned for your authors (of any racial or ethnic background) and be prepared to write grade and/or by your fall term English teacher. You will write about your first paper on one of these books. your summer reading at the beginning of the year. Free choice books can be chosen from the High School summer Tally Johnson – Read this book, plus TWO free choice books = reading booklet, or choose any other books that intrigue you. THREE total Need help deciding on a book, or have other questions? “The Ties That Bind Us” – Little Fires Everywhere by Celeste Ng Email English teacher Marianne Hines at [email protected] Sarah Schiff – Read this book plus TWO free choice books = THREE total or librarian Anna Watkins at [email protected]. "Yearning to Breathe Free” – Kindred by Octavia Butler. 9th & 10th grade summer reading Jim Veal – Read the assigned book plus TWO free choice books = THREE total Read any THREE fiction or non-fiction books of your own choosing. “The American West” – Shane by Jack Schaefer “Coming Across” – The Best We Could Do by Thi Bui 11th & 12th grade summer reading by teacher and class If your fall term English teacher has not listed specific assignments, read a total of THREE fiction or non-fiction books of your own choice.
    [Show full text]
  • The Child As Symbol and Actor in Lillian Smith's Killers of the Dream and James Agee's Let Us Now Praise Famous Men
    University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 Childish Figuring: The hiC ld as Symbol and Actor in Lillian Smith's Killers of the Dream and James Agee's Let Us Now Praise Famous Men Katherine Eveline Upton University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Upton, K. E.(2013). Childish Figuring: The Child as Symbol and Actor in Lillian Smith's Killers of the Dream and James Agee's Let Us Now Praise Famous Men. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/2387 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. CHILDISH FIGURING : THE CHILD AS SYMBOL AND ACTOR IN LILLIAN SMITH ’S KILLERS OF THE DREAM AND JAMES AGEE ’S LET US NOW PRAISE FAMOUS MEN by Katherine Upton Bachelor of Arts University of Cambridge, 2009 Submitted in Partial Fulfillment of the Requirements For the Degree of Masters of Arts in English College of Arts and Sciences University of South Carolina 2013 Accepted by: Robert H. Brinkmeyer, Jr., Director of Thesis Sara Schwebel, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Katherine Upton, 2013 All Rights Reserved. ii ACKNOWLEDGEMENTS I am deeply indebted to Dr. Robert H. Brinkmeyer, Jr. and Dr. Sara Schwebel for their time, effort and patience in helping me develop this thesis through its many stages and written incarnations.
    [Show full text]
  • Nadzieja Jako Zadanie
    Dr Joanna Stolarek University of Siedlce Cardinal Stefan Wyszyński University, Warsaw Femininity and masculinity in Carson McCullers selected novels – isolation, alienation, existential quest for identity and human relations Gender, sexuality and the relations between men and women frequently constituted major sources of interest and inspiration for miscellaneous artists, men of letters, philosophers, critics and theologians. Since the antiquity till the contemporary era artists, scholars and philosophers have endeavoured to present their vision of love, spiritual and physical unity and fulfillment when searching for male and female ideals. In their quest for perfect human relations, marriage and family units which reflected excellent combinations of body and soul, mutual trust, understanding and respect for one’s identity and individuality, they nevertheless realized that such an idyllic image or view of love was illusory and unattainable due to the imperfect, fallible nature of a hu- man being, their weaknesses, egotism, selfishness, propensity to sin and break moral codes. It was Adam’s and Eve’s egotism, solipsism, excessive ambition and sexual insatiability which brought about breaking the covenant with God. Furthermore, their firstborn son, Cain killed his brother Abel out of jealousy, hunger for power, domination and desire to be recognized and favoured by God. Since that time human beings are regarded as the offspring of Adam and Eve and their son Cain, and in this regard they are marked by the original sin. Due to that scholars, artists and philosophers have shown strained, at times tempestuous relations between men and women stemming from Adam and Eve’s original sin and Cain’s vicious, murderous nature.
    [Show full text]
  • Hargrett Rare Book and Manuscript Library Collection Development
    Hargrett Rare Book and Manuscript Library Collection Development Policy 1. Mission Statement The Hargrett Rare Book and Manuscript Library advances the research, instructional, and public service mission of the University of Georgia by collecting, preserving, and providing access to the published and unpublished works that document the evolving history and culture of Georgia and its peoples. The Hargrett Library documents the state's literary, cultural, social, and economic legacy; and it builds collections of distinction in other areas, including natural history, ecology and environmentalism, history of the book, performing arts, women’s history, journalism and print media, and University history. 2. Statement of Diversity, Equity, and Inclusion The Hargrett Library supports the University’s core values with respect to diversity and inclusion. We strive to create an environment of acceptance and respect in which all students, faculty, staff, and visitors feel welcomed and included at the Special Collections Libraries. In support of the UGA Libraries Diversity Plan (https://www.libs.uga.edu/diversity/plan), we seek to build a more diverse and inclusive collection through identifying weaknesses in our holdings, prioritizing current collecting activities to increase diversity, actively soliciting collections from underrepresented groups, and focusing on equity of voices and experiences in our exhibits and public programming. 3. Types of Programs Supported by the Collection A. Research The holdings of the Hargrett Library further the research of University students, faculty, staff, scholars, and the general public by providing access to original and published materials. B. Preservation and Security The preservation of research materials held by the Hargrett Library is crucial to the mission of the University of Georgia Special Collections Libraries.
    [Show full text]
  • 2011 Annual Report of the Georgia Historical Society Fiscal Year 2011
    Annual Report for Fiscal Year 2011 Annual Report of the Georgia Historical Society Fiscal Year 2011 INTRODUCTION W. Todd Groce, PhD President and Chief Executive Officer Fiscal Year 2011 (July 1, 2010-June 30, 2011) was a banner one for the Georgia Historical Society. Due to the launch of a capital and capacity building campaign the institution enjoyed its most prosperous year in nearly 175 years of continuous operation. As evidence of this, GHS raised a record $5 million for educational programming, archival services, capital projects and endowment. The endowment continued to rebound, and at the end of the fiscal year reached $6.54 million, close to its pre-recession level. Total assets grew from $7,382,181 in FY10 to $13,476,604 at the end of FY11, an increase of 82.5 percent. This healthy bottom line was due in part to careful financial management, dynamic board leadership, a recovering stock market, and the creation of two new endowment funds: the Dr. Henry Sauls Fund, established by a gift of $25,000 from John and Laura Wallace; and the Allan Gaynor Fund, established by an initial bequest of $300,000 from Alan Gaynor, a long-time supporter of GHS. The primary reason, however, for the significant increase in the Society’s net assets was the acquisition in June 2011 of the property at 104 West Gaston Street in Savannah for development as the Jepson House Education Center. Named in honor of philanthropists and higher education champions Robert and Alice Jepson, this is the first physical expansion of the Georgia Historical Society in forty years.
    [Show full text]