DOCSLIB.ORG

Feminine Modernity and the Feminine Imagination in Women’S Magazines, 1919-1939

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Feminine Modernity and the Feminine Imagination in Women’S Magazines, 1919-1939 “They Opened Up a Whole New World”: Feminine Modernity and the Feminine Imagination in Women’s Magazines, 1919-1939 by Fiona Anne Seaton Hackney A thesis submitted to the University of London in partial fulfilment for the degree of Doctor of Philosophy Goldsmith’s College December 2010 Abstract “They opened up a whole new world”, or something like it, was a phrase I heard repeatedly when I spoke to women about their memories of magazine reading in the interwar years. How the magazine operated as an imaginative window, a frame, space or mirror for encountering, shaping, negotiating, rethinking, rejecting, mocking, enjoying, the self and others became the central question driving this thesis. The expansion of domestic ‘service’ magazines in the 1920s responded to and developed a new female readership amongst the middle classes and working-class women, preparing the way for high-selling mass-market publications. The multiple models of modern womanhood envisaged in magazines, meanwhile, from the shocking ‘lipstick girl’ of the mid-1920s to the 1930s ‘housewife heroine’, show that what being a woman and modern in the period meant was far from settled, changed over time and differed according to a magazine’s ethos and target readership. In a period that witnessed the introduction of the franchise for women, divorce legislation, birth control, the companionate marriage, cheap mortgages, a marriage bar in the workplace, growth in the number of single women and panic over population decline, amongst other things, magazines helped resolve tensions, set new patterns of behaviour and expectations. This thesis, which examines the magazine as a material artefact produced in a specific historical context, argues that its complex ‘environment’ of coloured pictures, inserts, instructional photographs, escapist fiction, chatty editorial and advertising opened women up to conscious and unconscious desires to be a sports woman, a worker, a mother, a lover, or to look like their favourite film star; a ‘window’, that is, through which women without the benefit of £500 a year and a ‘room of their own’ could gaze and imagine themselves, their lives and those of their families, differently. Thanks First and foremost, thanks go to my supervisor Sally Alexander whose insight, intelligence, and sheer love of history has been a constant inspiration. The most generous of supervisors, Sally is also a stern critic; a rare gift much appreciated, and one that will not be forgotten. Secondly, thanks go to my partner Jonathan Glynne and our children Laurie and Fred for their endless patience and support. They bore the brunt of the time and effort that this project demanded, and it could not have been completed without them. I would also like to thank my colleagues at University College Falmouth and in the wider academic community whose publications, papers and discussion have fed and nurtured my ideas; Deborah Sugg Ryan, Kath Holden and the Women’s History Network, Pat Collier, Ann Ardis, Maria di Cenzo and the Transatlantic Print Culture group, Cathy Clay, the Middlebrow Network, Gen Doy and colleagues at De Montfort University, Carol Tulloch and Linda Sandino at the V&A/RCA, are just a few names I could mention. Last, but not least, my heartfelt thanks go to Chris Truran for being so ready to lend a hand in an emergency, and Gemma Richards who patiently formatted my text and illustrations. I will end with my young son’s shocked response when I told him I was going to be a doctor. “No mum”, he replied, “you can’t be a doctor, you’ll have to be a nurse!”; fitting commentary, I feel, on the dilemmas of femininity, which remain as urgent for us today as they did for women seventy years ago. Table of Contents Title Page 1 Declaration 2 Abstract 3 Thanks 4 Table of Contents 5 Table of Illustrations 10 Chapter 1: Introduction: ‘This Wonderful World’: Modernity is Different for Women 17 Introduction: Feminine Modernity and Being Independently Feminine Working with Women’s Magazines: a Methodology Conservative, Suburban, Domestic and Feminine Modernity Manuals of Modernity: Selected Magazines Conclusion: Modern Subjects Chapter 2: ‘The Woman’s Point of View’: The Woman’s Press, Advertising and Thinking Visually 49 Introduction: A Common Culture: The Modern Feminine Press ‘Of Course the Woman Journalist is Wanted’: The Modern Woman Journalist and the Commercial Women’s Press Understanding the Female Consumer: Women in Advertising ‘Mr. Typical, Mrs. Housewife and the Needmuch Children’: Selling Audiences to Advertisers ‘Selling the Page’: The Drama of Visual Consumption Conclusion: The Land of Dream Come True Chapter 3: Reading the Readers: Memory, Narrative and Text 106 Introduction: ‘They’re Bright and Easy Reading, and You Can Find out Lots of Useful Things’: Reading Practices and the New Female Reader Rebellion and Realistic Escape: ‘A Little Treat Every Week’ ‘A Good Lesson in Life’: Learning to be a (Modern) Woman ‘A Nice Little Book’: Class and Cultural Values ‘These Were the Things we Bought and Used’: Materialising Modern Femininities Conclusion: It ‘Supplied my Needs’ Chapter 4: ‘The Science of Teaching People How to Live’: Housewifery, Homecraft and the Housewife Heroine 134 Introduction: Modern Homes for Modern Women From Domestic Servant to Housewife Heroine ‘The Beauty of the House in Order’: Cleanliness and Housewifery ‘A Factory of Private Illusions and a Catalogue of Ready-Made Tastes, Values and Ideas’: Interior Design, Decoration and Homecrafts Conclusion: Homes Fit For Heroines Chapter 5: Bachelor Girls, Career Women and Working Wives: Jobs for Modern Woman 172 Introduction: The Field of Feminine Industry ‘A Room of Her Own with a Nice Desk and many Advantages as Regards Comfort’: Jobs for Women Bachelor Girls, Career Professionals and Nervous Women: Single Working Women ‘Career into Marriage?’: The Working Wife and the Bachelor Woman Conclusion: Adventurous Women Chapter 6: ‘Natural’ and ‘Unnatural’ Types: Performing Modern Femininity through Cosmetic Practice and Display 213 Introduction: A Migration to Surfaces Personality is Only Skin Deep: Beauty Editorials, Types and Transformations White Skin/Red Lips. Naturalising Artifice: Sexuality, Respectability and Social Display ‘Natural’ and ‘Unnatural’ Bodies: Beauty, Health and Bifurcated Garments Conclusion: ‘I’m Going to Make the Best of Myself!’ Chapter 7: Agony and Ecstasy: Sex, Romance and the Problem Page 257 Introduction: A Mentality of Modernity ‘A Friend in Need’: Agony Aunts and the Modern Problem Page ‘From One Woman to Another’: Leonora Eyles, Feminism and the Autonomous Woman ‘Your Unseen Friend’: Agony and Romantic Pragmatism in the 1930s A Far Cry from Havelock Ellis, Freud and Jung? The New Realism in Romantic Fiction Conclusion: ‘A Level Headed and Normal Idea of Sex and Sex Morality’ Chapter 8: Conclusion: Magazines and the Feminine Imagination 295 Woman as News: ‘A Few Moments Idle Phantasy’ Conclusion: ‘The Political Equivalent of a Man’: ‘A Kind of Rose Pink Feminism’ Illustrations: 308 Bibliography: 356 Appendix 1: Women’s Magazines Published in the Interwar Period 401 Appendix 2: Readers Spreadsheet 403 Illustrations • “Women as News”. Home Chat 10.04.1924 pp. 119-120. • “Kotex Sanitary Pads make modern women care-free” ad. Home Chat 22.11.1929 p. 740. • “The Proof of the Pudding!” C. E. B. Home Chat 20.04.1929 p. 174. • “Woman: Where she stands today; What she had paid; was it worth it?” Margaret Lane. Woman 05.06.1937 p. 7. • “To Young Housewives only” advert. Home Chat 03.04.1924 p. 11. • “Gordon’s Gin is wonderful my dear – you try it!” ad. Home Chat 14.12.1934, p. 728. • ‘They Say’. Home Chat 08.11.1924, p. 371. • ‘They Say’. Home Chat 06.07.1929, p. 5. • Flapper at the wheel of a motor car. Home Chat 06.04.1929 (front cover). • Flappers with shopping and motor car. Modern Woman 11.1927 (front cover). • “My Dear Get a Car!” Isobel Graham. Home Chat 11.10.1924 p. 71. • “Next Week’s Free Pattern: Five Ways to Make it up”. Woman’s Weekly 02.07.1938 (front cover). • “Flowerlike!”. Woman’s Weekly 04.06.1938 (front cover). • ‘Woman’s Weekly Whispers’. Woman’s Weekly 09.03.1929 p. 871. • “The Right Clothes in a Side Car”. Woman’s Weekly 21.05. 1919. • “The Graceful Way”. Woman’s Weekly 23.08.1919 p. 185 • ‘Names that are News’. Modern Woman 08.1935 p. 9. • ‘This Wonderful World’. Modern Woman 07.1935 p. 15. • ‘Just talking’. Modern Woman 03.1939 p. 11. • “The Wildflower Teas Cosy”. Modern Woman 10.1935 (front cover). • “Rev. Dick Sheppard writes on a vital problem”. Modern Woman 08.1935 (front cover). • “Your New Hair Style”. Woman 18.09.1937 (front cover). • “Take Beauty to the Sea”. Woman 15.07.1937 (front cover). • “The Golden Age for Artists” Advert for The Practical Correspondence College. Eve 25.11.1920. • “Mabs and Maisie Darrell!”. Home Chat 09.02.1929 pp. 286-7. “Mabs Types”. Home Chat 12.07.1924 pp. 72-3. • “Cookery for the Beginner” Gladys Owen. Home Chat 08.04.1939 p. 103. • ‘What Shall I Do?: Mrs. Allister Will Help’. Modern Woman 07.1939 p. 30. • Leonora Eyles: ‘What Shall I Do? Woman’s Way and ‘Life and You’ Woman’s Own 24.04.1937 p. 46. • “Introducing Woman Experts”. Woman 05.06.1937 p. 4. • “General Office of the Advertising Department of a well-known Periodical” from ‘Advertising as a Career for Women’ Mrs. Ethel M. Wood. Modern Advertising 1925 p. 73. • “Making-Up’ Advertisement pages for a well-known Periodical” from ‘Advertising as a Career for Women’ Mrs. Ethel M. Wood. Modern Advertising 1925 p. 75. • “Daily Mirror Read by a million women daily” ad. The Newspaper Press Directory 1931 p. 306. • “Home Influence: Daily Mirror” ad. The Newspaper Press Directory 1934 p.
Load more

Recommended publications
  • Brave New World
    BRAVE NEW WORLD by Aldous Huxley (1894-1963) Chapter One A SQUAT grey building of only thirty-four stories. Over the main en- trance the words, CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDEN- TITY, STABILITY. The enormous room on the ground floor faced towards the north. Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic goose- flesh, but finding only the glass and nickel and bleakly shining porce- lain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse- coloured rubber. The light was frozen, dead, a ghost. Only from the yellow barrels of the microscopes did it borrow a certain rich and living substance, lying along the polished tubes like butter, streak after luscious streak in long recession down the work tables. "And this," said the Director opening the door, "is the Fertilizing Room." Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absent-minded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a notebook, in which, whenever the great man spoke, he desperately scribbled. Straight from the horse's mouth. It was a rare privilege.
    [Show full text]
  • Brave New World: the Correlation of Social Order and the Process Of
    Brave New World: The Correlation of Social Order and the Process of Literary Translation by Maria Reinhard A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in German Waterloo, Ontario, Canada, 2008 ! Maria Reinhard 2008 Author's Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This comparative analysis of four different German-language versions of Aldous Huxley’s Brave New World (1932) shows the correlation between political and socio- cultural circumstances, as well as ideological differences, and translations of the novel. The first German translation was created by Herberth E. Herlitschka in 1932, entitled Welt – Wohin? Two further versions of it were released in 1950 and 1981. In 1978, the East German publisher Das Neue Berlin published a new translation created by Eva Walch, entitled Schöne neue Welt. My thesis focuses on the first translations by both Herlitschka and Walch, but takes into account the others as well. The methodological basis is Heidemarie Salevsky’s tripartite model. With its focus on author and work, commissioning institution and translator, it was developed as a tool to determine the factors influencing the process of literary translation. Within this framework, the translations are contextualized within the cultural and political circumstances of the Weimar and German Democratic Republics, including an historical overview of the two main publishers, Insel and Das Neue Berlin.
    [Show full text]
  • Pwc Asset Management 2020: a Brave New World 3 Introduction
    Amid unprecedented economic turmoil and regulatory change, most asset managers have afforded themselves little time to bring the future into focus. But the industry stands on the precipice of a number of fundamental shifts that will shape the future of the asset management industry. To help asset managers plan for the future, we have considered the likely changes in the asset management industry landscape over the coming years and identified key gamechangers which will impact the competitive environment. Asset Management 2020 A Brave New World www.pwc.com/assetmanagement Contents Introduction 4 The landscape in 2020: 6 The industry expands, the investor base morphs 1. Huge rise in assets and shift in investor base 7 2. Pressures on the asset management industry 14 3. Nothing to hide,nowhere to hide and nothing at risk 16 AM 2020: 18 Gamechangers that will redefine the industry 1. Asset management moves centrestage 19 2. Distribution is redrawn – regional and global platforms dominate 24 3. Fee models are transformed 26 4. Alternatives become more mainstream, passives are core and ETFs proliferate 28 5. New breed of global managers 31 6. Asset management enters the 21st century 34 A shared vision: 36 Wei and the asset management industry Contacts 38 PwC Asset Management 2020: A Brave New World 3 Introduction It’s March 11, 2020. As Wei boards her train in the suburbs of Beijing, heading for her office in the capital of the world’s biggest economy, she checks her mobile device. She has been sent a message from international dating company eMatch’s sister site, eMatch Investments.
    [Show full text]
  • Maryland Historical Magazine, 1976, Volume 71, Issue No. 3
    AKfLAND •AZIN Published Quarterly by the Maryland Historical Society FALL 1976 Vol. 71, No. 3 BOARD OF EDITORS JOSEPH L. ARNOLD, University of Maryland, Baltimore County JEAN BAKER, Goucher College GARY BROWNE, Wayne State University JOSEPH W. COX, Towson State College CURTIS CARROLL DAVIS, Baltimore RICHARD R. DUNCAN, Georgetown University RONALD HOFFMAN, University of Maryland, College Park H. H. WALKER LEWIS, Baltimore EDWARD C. PAPENFUSE, Hall of Records BENJAMIN QUARLES, Morgan State College JOHN B. BOLES, Editor, Towson State College NANCY G. BOLES, Assistant Editor RICHARD J. COX, Manuscripts MARY K. MEYER, Genealogy MARY KATHLEEN THOMSEN, Graphics FORMER EDITORS WILLIAM HAND BROWNE, 1906-1909 LOUIS H. DIELMAN, 1910-1937 JAMES W. FOSTER, 1938-1949, 1950-1951 HARRY AMMON, 1950 FRED SHELLEY, 1951-1955 FRANCIS C. HABER 1955-1958 RICHARD WALSH, 1958-1967 RICHARD R. DUNCAN, 1967-1974 P. WILLIAM FILBY, Director ROMAINE S. SOMERVILLE, Assistant Director The Maryland Historical Magazine is published quarterly by the Maryland Historical Society, 201 W. Monument Street, Baltimore, Maryland 21201. Contributions and correspondence relating to articles, book reviews, and any other editorial matters should be addressed to the Editor in care of the Society. All contributions should be submitted in duplicate, double-spaced, and consistent with the form out- lined in A Manual of Style (Chicago: University of Chicago Press, 1969). The Maryland Historical Society disclaims responsibility for statements made by contributors. Composed and printed at Waverly Press, Inc., Baltimore, Maryland 21202,. Second-class postage paid at Baltimore, Maryland. © 1976, Maryland Historical Society. 6 0F ^ ^^^f^i"^^lARYLA/ i ^ RECORDS LIBRARY \9T6 00^ 26 HIST NAPOLIS, M^tl^ND Fall 1976 #.
    [Show full text]
  • AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
    AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s.
    [Show full text]
  • Pofc TBI Main Octnov20.Indd
    Insight on screen TBIvision.com | October/November 2020 Distributor's Survey The inside track Bible reading on the global sales The future of business formats Page 14 Page 34 pOFC TBI Main OctNov20.indd 1 02/10/2020 15:28 pIFC-01 Global Agency TBI OctNov20.indd 2 01/10/2020 10:35 pIFC-01 Global Agency TBI OctNov20.indd 3 01/10/2020 10:35 ABANDONED ENGINEERING S5 12 x 60’ Like a Shot Entertainment EDGES UNKNOWN RACE TO VICTORY 7 x 60’ 4East Media 6 x 60’ CIC Media SEX UNLIMITED 5 x 60’ Barcroft Studios For sales enquiries please contact: [email protected] www.beyondrights.tv pXX Beyond TBI OctNov20.indd 1 28/09/2020 09:44 Welcome | This issue Contents TBI October/November 2020 34. Future-proofi ng formats With the pandemic upending the TV industry across the world, Mark Layton fi nds out what the impact has been on the global format sales business and how it has adapted to the new normal. 38. Keeping the music playing through Covid Karen Smith, MD of Tuesday’s Child and Tuesday’s Child Scotland, on The Hit List. 10 40. Formats Hot Picks The formats that caught our eye this month including 9 Windows, Pooch Perfect and Tough As Nails. 10. Press record TikTok has exploded into the public consciousness like few – if 42. e colourful world of co-productions any other – video-led service before it. UK & Europe chief Rich Sharing production costs on unscripted projects was on the increase Waterworth tells Richard Middleton how he sees the future prior to Covid-19, but is the pandemic accelerating this further? Tim panning out.
    [Show full text]
  • PERSONAL DETAILS NAME: Amanda Simone Oxenford Mcerlean TELEPHONE: 0413-615041 (Mob)
    CURRICULUM VITAE - AMANDA McERLEAN PERSONAL DETAILS NAME: Amanda Simone Oxenford McErlean TELEPHONE: 0413-615041 (mob) EMAIL: [email protected] HEIGHT: 173 cm (5'8") COMPLEXION: Fair M.E.A.A Membership No: 4980759 EXPERIENCE Actor for Conflict Resolution Training Services (Brisbane) 2010 - 2015 ‘Carol’ Break – Short Film – Danielle Culleton 2014 ‘Bronwyn’s Mother’ Hold On – Australian Suicide Prevention Campaign – Soul Vision Films (PH) 2014 ‘DD’ Pipe Dreams – Feature - Revue Factory Productions – ( Dir: Aaron Singfield) 2014 ‘Guard Luxon’ Rise – Feature - Vision Films –( Dir: Mack Lindon) 2013 ‘Pam’ Ivan The Car – Short Film – (Dir: Chris Crawford) 2013 ‘Celia’ Calendar Girls – (Dir: Lynne Wright) - Arts Theatre (Brisbane) 2012 ‘Mary’ Welcome to the Lucky Country – Short Film - Soul Vision Films (Peter Hegedus) 2012 Voiceover for ‘Betty’ (E-learning animation) – Blackshoe Studios – (Brisbane) 2011 ‘Cleaner’ Slide – TV Series - Playmaker Media/Hoodlum – (Brisbane) 2011 ‘Montague Lady’ A Heartbeat Away (Dir: Gale Edwards) 2010 ‘Customer’ Deal or No Deal Instant Scratchits Commercial – Mojo (Brisbane) 2010 ‘Gretchen’ in Tide Line of July 15 (Dir: Daniel Jess) Short + Sweet P’hse (Bris) 2009 ‘Vera’ in Vera (Dir: Katrina Channells) – Short Film (Brisbane) 2009 ‘Jenny’ in Generation Pizza (Dir: Errol Bray) Emerge Project – JWC (Brisbane) 2009 ‘Queen Katiyana’ – MC of The Snow Ball – Top Floor (Brisbane) 2009 ‘Sally’ in ATSI Cultural Capability Training DVD –Carbon Media Events(Bris) 2009 ‘Shop Owner’ in Lamb Island (Dir: Tim Marshall)
    [Show full text]
  • Writing a Revolution Intersection and Fracture in Women’S Activist Material
    Writing a Revolution Intersection and Fracture in Women’s Activist Material 121 E. Union St., Pasadena, Ca 91103 · Tel. (626) 714-7720 [email protected] www.WhitmoreRareBooks.com Books Termsmay be reserved by email: [email protected] and by phone: (626) 714-7720 We welcome you to visit our shop by appointment during normal business hours: 121 E. Union St., Pasadena, Ca 91103 For our complete inventory, including many first editions, signed books and other rare items, please visit our website at: www.WhitmoreRareBooks.com Follow us on social media! @WRareBooks @whitmorerarebooks whitmorerarebooks The History of Woman Suffrage, First edition presented by Susan B. Anthony to Marilla Ricker (Volumes I-VI), p. 13. 4 Introduction “To be militant in some way or other is a moral obligation. It is a duty which every woman will owe to her own conscience, to other women who are less fortunate than she is herself, and to all those who are to come after her.” -Emmeline Pankhurst The women activists of the past undeniably laid the groundwork for the revolutions we’re experiencing in our own time. In speaking out, protesting, exposing discrimination, and fighting for equality, they propelled us forward. Yet the documents of the past also show that some of our current upheaval comes from their failures—most frequently from the exclusion of women who didn’t share in the same privileges of race, gender identity, sexual orientation, or economic class. The materials gathered here are therefore both celebratory and chastening. As we continue the push to ensure that more voices are heard in our shop, more identities and contributions represented on our shelves, we see Writing a Revolution as a chance to promote a complex and intersectional women’s history.
    [Show full text]
  • Brave New World: a Unit Plan
    BRAVE NEW WORLD: A UNIT PLAN Second Edition Based on the book by Aldous Huxley Written by Mary B. Collins Teacher's Pet Publications, Inc. 11504 Hammock Point Berlin, Maryland 21811 Copyright Teacher's Pet Publications, Inc. 1996, 1999 This LitPlan for Aldous Huxley’s Brave New World has been brought to you by Teacher’s Pet Publications, Inc. Copyright Teacher’s Pet Publications 1999 11504 Hammock Point Berlin MD 21811 Only the student materials in this unit plan such as worksheets, study questions, assignment sheets, and tests may be reproduced multiple times for use in the purchaser’s classroom. For any additional copyright questions, contact Teacher’s Pet Publications. 410-641-3437 www.tpet.com [email protected] TABLE OF CONTENTS - Brave New World Introduction 5 Unit Objectives 8 Reading Assignment Sheet 9 Unit Outline 10 Study Questions (Short Answer) 12 Quiz/Study Questions (Multiple Choice) 18 Pre-reading Vocabulary Worksheets 31 Lesson One (Introductory Lesson) 45 Nonfiction Assignment Sheet 49 Oral Reading Evaluation Form 48 Writing Assignment 1 58 Writing Assignment 2 64 Writing Assignment 3 67 Writing Evaluation Form 68 Vocabulary Review Activities 59 Extra Writing Assignments/Discussion ?s 61 Unit Review Activities 70 Unit Tests 72 Unit Resource Materials 100 Vocabulary Resource Materials 111 3 A FEW NOTES ABOUT THE AUTHOR Aldous Huxley HUXLEY, ALDOUS (1894-1963) Aldous Huxley was born on July 26, 1894 in Godalming, England to a well-educated, prominent family. He went to a preparatory school for his basic education, and then later earned his degree from Balliol College in Oxford. At a young age he contracted an eye disease which left his vision severely impaired.
    [Show full text]
  • Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2017 Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Music Commons, and the Women's History Commons Recommended Citation Morrow, Madeline Rachel, "Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015" (2017). Electronic Theses and Dissertations. 1258. https://digitalcommons.du.edu/etd/1258 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the requirements for the Degree Master of Arts __________ by Madeline Rachel Morrow June 2017 Advisor: John J. Sheinbaum ©Copyright by Madeline Rachel Morrow 2017 All Rights Reserved Author: Madeline Rachel Morrow Title: WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 Advisor: John J. Sheinbaum Degree Date: June 2017 ABSTRACT This thesis examines songs about cheating performed by women in country music that appeared on year-end country songs charts in Billboard magazine from 1962 through 2015.
    [Show full text]
  • Brave New World at the General Assembly: the United Nations Declaration on Human Cloning
    Minnesota Journal of Law, Science & Technology Volume 9 Issue 1 Article 8 2007 Brave New World at the General Assembly: The United Nations Declaration on Human Cloning Nigel M. de S. Cameron Anna V. Henderson Follow this and additional works at: https://scholarship.law.umn.edu/mjlst Recommended Citation Nigel M. Cameron & Anna V. Henderson, Brave New World at the General Assembly: The United Nations Declaration on Human Cloning, 9 MINN. J.L. SCI. & TECH. 145 (2008). Available at: https://scholarship.law.umn.edu/mjlst/vol9/iss1/8 The Minnesota Journal of Law, Science & Technology is published by the University of Minnesota Libraries Publishing. CAMERON N & HENDERSON A. BRAVE NEW WORLD AT THE GENERAL ASSEMBLY: THE UNITED NATIONS DECLARATION ON HUMAN CLONING. MINN. J.L. SCI. & TECH. 2008;9(1):145-238. Brave New World at the General Assembly: The United Nations Declaration on Human Cloning Nigel M. de S. Cameron & Anna V. Henderson* INTRODUCTION In the first year of the new millennium, a little-reported controversy began to unfold at the United Nations General Assembly (UNGA). The resulting debate spanned four sessions of the UNGA and roiled capitals around the globe. It seriously divided the United States and the United Kingdom, at a time when these two States were the closest of allies on issues of global terror and the invasion of Iraq. It united a remarkable coalition of dozens of developing world States with the conservative administration of President George W. Bush, who went in person to the podium of the Assembly to argue his case and theirs.
    [Show full text]
  • Roger Compie 35 Anni E Cambia Racchetta
    Anno XII - n.30 - 3 agosto 2016 La nuova Wilson di Federer: anteprima Il fuoriclasse svizzero ha disegnato la Pro Staff come piace a lui Pag.14 Roger compie 35 anni e cambia racchetta L’8 agosto Roger Federer diventa over... Pag.12 Caccia all’oro, ecco La storia del tennis chi può vincerlo alle Olimpiadi A Rio si parte con tante defezioni Dal 1896 a oggi un percorso ma molta voglia di medaglia accidentato. Ecco chi è salito sul podio Pag.4 Pag.8 Guida TV live: tutti GLI ALTRI CONTENUTI Prima pagina: Federico, che scatto! Pag.3 - Focus: C’è i tornei di agosto un podio per Sania, la regina dei doppi? Pag.6 - Circuito SuperTennis continua a seguire mondiale: Novak 30 per 1000 Pag.16 - I numeri della il circuito: Messico, Cincinnati e oltre settimana Pag.17 - Giovani: Master Kinder Pag.20 Wheelchair: Mazzei che campione Pag.21 - Paddle Pag.22 Circuito Fit-Tpra: Tornei sotto l’ombrellone Pag.23 Pag.18 Personal Coach Pag.24 - La regola del gioco Pag.26 ALTEZZA DELLA PALLA DOPO IL RIMBALZO: SPIN: La nuovissima VCORE DUEL G è in grado di sviluppare una potenza e pressione sulla palla dell’altro mondo e uno spin in campo che potrà cambiare letteralmente il vostro modo di giocare … da tennista standard a campione internazionale! Nessuna perdita di velocità e potenza anche dopo il rimbalzo. Il nuovo passacorde “LOOK BOOSTER SYSTEM” con più fori nella sezione superiore del piatto corde e scanalature ad ala tripla per migliorare la distribuzione della pressione delle corde, aumenta l’effetto schiacciamento sulla palla, producendo così maggiori effetti, mentre il rivoluzionario materiale TOUGH G FIBER incorporato nel telaio e 3 volte più flessibile del carbonio con nanotecnologieCARBON NANOTUBE, consente l’esecuzione di colpi potenti con grandi rotazioni.
    [Show full text]