DOCSLIB.ORG

The Epistolary Form in Twentieth-Century Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Epistolary Form in Twentieth-Century Fiction THE EPISTOLARY FORM IN TWENTIETH-CENTURY FICTION DISSERTATION Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Catherine Gubernatis, M.A. ***** The Ohio State University 2007 Dissertation Committee: Professor Sebastian D.G. Knowles, Advisor Approved by Professor Brian McHale Professor David Herman ______________________________ Advisor English Graduate Program ABSTRACT In my dissertation, I argue the use of the epistolary form in twentieth-century fiction reflects the major principles of the modern and postmodern literary movements, separating epistolary practices in fiction from their real world counterparts. Letters and letter writing played an important role in the development of the English novel in the middle eighteenth century. A letter is traditionally understood to be a genuine depiction of what the writer is currently feeling, and when used in fiction, letters become a way to represent characters’ internal states and to present accounts of recent events. Thus letters in eighteenth-century fiction establish that language can clearly reveal the subjective experience. The modernists, however, believe that all knowledge, even subjective knowledge, is limited and after World War I, lose confidence in language’s ability to describe the modern era. They revive the epistolary genre and use letters in their works precisely to reject the conventions that had been founded in the eighteenth century. In the late twentieth and early twenty-first centuries, the use of letters in fiction continues to evolve. Postmodern authors use the epistolary form to investigate the ways language complicates representations of the subjective experience and to explore the letter’s relationship to different states of being. The letter in fiction, then, can be adapted to express different theories about art and literature. Thus letters are used in twentieth- century literature not so much because they are a vital part of a media ecology, but ii because their relationship with actual media is dissolving. In addition, comparing the functions of letters in the eighteenth century and the functions of letters in the twentieth century demonstrate that using the letter in fiction automatically puts novels in conversation with texts from previous literary eras. The majority of epistolary studies have discussed the relationship between letters and literature of the eighteenth and nineteenth century. My study argues that despite their apparent anachronism, letters are a dynamic literary form that has contributed to the evolution of fiction over the last 100 years. iii To Pat, the one who understands me iv ACKNOWLEDGMENTS I believe the best scholarly work is a collaborative effort, so I would like to acknowledge the following individuals: First of all, I would like to thank the members of my dissertation committee for all of the time they have invested in this project, for all the feedback they have given me, and for reading all of my horrible first drafts. I am especially grateful to my advisor Sebastian Knowles for his belief in the importance of my work and his unwavering support throughout this progress. I would also like to thank Brian McHale, whose ideas not only influenced this project, but whose previous work with me became the cornerstone of this dissertation and inspired me to pursue this avenue of study. Thanks also to David Herman for his willingness to discuss any aspect of my scholarly work and for taking the time to write thorough comments on all of my drafts, helping me to understand the subtle nuances of language. I also wish to thank members of the English department not on my dissertation committee. My conversations with Aman Garcha not only helped develop my job materials, but helped crystallize my ideas about this project and provided me with a vocabulary to discuss them. I am also grateful to the late Kitty Locker who always emphasized the importance of asking good questions. I would also like to thank Kathleen v Gagel Griffin for her calming demeanor and for helping me navigate the OSU bureaucracy. Lastly I am especially grateful to James Phelan: distinguished professor, role model, mentor, excellent writer, and sincere listener. Even though he is not officially on my committee, our discussions have left a mark on this project, have greatly improved my writing, and have helped me realize my full potential as a scholar. Special thanks to Jared Beglinger for suggesting I read Extremely Loud and Incredibly Close. I am also grateful to my friends: “There is such a shelter in each other.” I would like to thank Robyn Malo-Johnston for her constant solidarity and empathy throughout this last, stressful year of graduate school. I would also like to thank Akhila Ramnarayan for her mentoring, her cheerleading, and her insightful comments, specifically on the introduction to this dissertation and on graduate school in general. I would also like to acknowledge Anna Nogar, my childhood best friend who has now become my colleague. Thank you for being there when I needed to talk and always being willing to share both my failures and successes. I am also grateful to the support my family has shown me. I would like to thank my dad for always encouraging me to follow my dreams of being a professor, even though as a PhD himself, he was surely aware of the bumpy road ahead. And I am especially grateful to my mom for always believing in me and for taking up the sword to fight the endless battles against typos and bad grammar in my writing. vi Lastly, I want to acknowledge my fiancé Patrick Dannen. I cannot begin to describe the ways you’ve supported me over the last couple of years, and language fails me when I try to express how grateful I am to you, so hopefully this will suffice—thank you and I love you. vii VITA December 19, 1976…………………………....Born—Los Alamos, New Mexico 2003……………………………………………M.A. English, The Ohio State University 1999……………………………………………B.A. English/History Cum Laude, Mount Holyoke College 2001-03, 2005-06……………………………...GTA, The Ohio State University 2003-05…………..............................................GTA, Writing Center The Ohio State University 2003-05…………..............................................GAA, University-Wide Undergraduate Curriculum Review Committee, The Ohio State University 2006 ……………………………………………Recipient of an English Department Summer Fellowship, The Ohio State University viii 2007……………………………………………Recipient of the Mary Lundie Stewart Vorman Scholarship and an English Department Two Chapter Dissertation Fellowship, The Ohio State University FIELDS OF STUDY Major field: English ix TABLE OF CONTENTS Page Abstract…………………………………………………………………………………....ii Dedication………………………………………………………………………………...iv Acknowledgments………………………………………………………………………..v Vita…………………………………………………………………………………..….viii Chapters: Introduction: “It isn’t going to be what we expected”: The Surprising Use of Letters in Twentieth-Century Fiction…………………… 1 1. “Till this moment I never knew myself”: Letters in Nineteenth-Century Fiction ……………………………….................24 The Integration of the Epistolary Form: Pride and Prejudice and The Moonstone......…………..............................……..27 The Questioning of the Epistolary Tradition. ……………………………..........51 2. “Venerable are letters, infinitely brave, forlorn, and lost”: Modernism and The Epistolary Form…………………………………...............70 The Personal Document Becomes Impersonal…………………….....................74 Letters and Lying.......................………………………………………………...88 x The Struggle to Write……….....………………………………………………..100 The Epistolary Form and Art…….........................................……………..........103 3. “All the world’s in want and is writing a letters”: Joyce’s Experiments with the Epistolary Form.......…………………………....118 Dubliners..........…………………………………………………………............119 A Portrait of the Artist as a Young Man……………………......………………124 Ulysses…………………………………………………………............……….127 Finnegans Wake………………………………………………………………...149 The Letter as Literature.......………………………………………...…………..165 4. “You’ve got mail”: The Epistolary Tradition in the Postmodern Era......…………………………………………………………………………..171 The Problems with Language...............................................…………………...173 The Fragmentation of the Storyworld.................……………………………….185 Letters and External Readers…………………………………………………...198 Communication in the Postmodern Era...............................................................207 Conclusion: “There’s something stuck here”: The Future of the Letter in Fiction...................................................…................222 Bibliography……………………………………………………………………………236 xi INTRODUCTION “It isn’t going to be what we expected”: The Surprising Use of Letters in Twentieth-Century Fiction One may as well begin with Helen Schlegel’s letters to her sister Margaret in EM Forster’s Howards End: “Dearest Meg, It isn't going to be what we expected” (3). In her letter, Helen writes that the historic, bucolic house at Howards End appeared to be an unusual home for the capitalistic, urban Wilcox clan, but for readers of the novel, Forster’s choice to incorporate letters into the first chapter can be seen as equally unusual. Forster wrote the majority of Chapter I of his novel in a style that was influenced by eighteenth-century fiction. The epistolary novel was one of the most pervasive forms of fiction during the 1700s, but the end of the century saw a sharp decline in the number of epistolary
Load more

Recommended publications
  • Jaines Donahue Nained New" SMC President
    The Collegian Volume 110 2012-2013 Article 22 4-9-2013 Volume 110, Number 22 - Tuesday, April 9, 2013 Saint Mary's College of California Follow this and additional works at: https://digitalcommons.stmarys-ca.edu/collegian Part of the Higher Education Commons Recommended Citation Saint Mary's College of California (2013) "Volume 110, Number 22 - Tuesday, April 9, 2013," The Collegian: Vol. 110 , Article 22. Available at: https://digitalcommons.stmarys-ca.edu/collegian/vol110/iss1/22 This Issue is brought to you for free and open access by Saint Mary's Digital Commons. It has been accepted for inclusion in The Collegian by an authorized editor of Saint Mary's Digital Commons. For more information, please contact [email protected]. MORAGA, CALIFORNIA VOLUME 110, NUMBE~ TUESDAY, APRIL 9, 2013 STMARYSCOLLEGIAN.COM TWITTER: @ SMC_COLLEGIAN FACEBOOK.COM/SMCCOLLEGIAN -2-Z,, INSIDE THIS Jaines Donahue nained neW" SMC president WEEK'S EDITION First lay .president of Saint Mary's PAGE3 Trevor Project works to College raise suicide awareness announced over Spring Break BY CHARLIE GUESE CHIEF COPY EDITOR At a conference on the Chapel Lawn on March 26, Saint Mary's College officials formally named Dr. James A Donahue of the Grad­ uate Theological Union as the Col­ lege's 29th president. Donahue's term as president is effective July 1, 2013. "It's an absolute honor and bless­ ing to be named the 29th president of Saint Mary's College," Donahue said, "I promise that I will dedicate myself with all that I have to make Saint Mary's College the best aca­ SPORTS demic institution it can be." Donahue's speech at the an­ Baseball pummels nouncement ceremony highlight­ Georgetown ed his excitement at being named President of Saint Mary's, the heritage of the College's history, Prior to his appointment, Do­ It was announced in June 2012 Brother Ron was appointed Poetry and the all-encompassing Lasal­ nahue also served on the Advisory that incumbent President Brother president on September 23, 2005.
    [Show full text]
  • Irish Gothic Fiction
    THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland.
    [Show full text]
  • 10. Hum-The White Tiger a Sagacious Quest in Epistolary-Ms.DEBALINA
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN(E): 2321-8878; ISSN(P): 2347-4564 Vol. 3, Issue 7, Jul 2015, 53-58 © Impact Journals THE WHITE TIGER: A SAGACIOUS QUEST IN EPISTOLARY TRADITION DEBALINA SENGUPTA Research Scholar, Department of English & Culture Studies, The University of Burdwan, Burdwan, West Bengal, India ABSTRACT Epistolary novel is a fictional genre written in the form of letters or documents, integrating higher realism to create absolute absorption of the audience. The term is derived from the Greek word “ epistol ē” (a letter) and under its veil it often impersonates the society to create a larger-life effect among the audience. Our present text of discussion, the Booker winning debut novel of Aravind Adiga, The White Tiger, surprisingly has been written in this practice, incorporates letters from Balaram Halwai to Wen Jiabao, describing his journey from a rooster-coop to a successful entrepreneur. This fiction unfolds slowly how a Halwai resists the oppression of the master class people and ultimately is able to create a distinct identity irrespective of class, caste, creed and societal taboos after committing a violent murder of his employer. Murder is always an act of violence, we are never granted to take the life of others, however criminal he may be. But in the case of Balaram, this violent act of execution produces a cathartic effect. He wins over all the societal obstruction as well as family ties through this purgatorial crime. KEYWORDS: Catharsis, Epistolary, Journey, Murder, Oppression, Quest Etc INTRODUCTION The White Tiger, a realistic masterpiece in epistolary genre by Aravind Adiga, won the covetous 40 th Man- Booker Prize in 2008.
    [Show full text]
  • The Epistolary French Novel Between History and Literature
    American Research Journal of English and Literature ISSN-2378-9026 Volume 3, Issue 1, 1- 7 Pages DOI:10.21694/2378-9026.17016 Research Article Open Access The Epistolary French Novel between History and Literature Luisa Messina University of Palermo [email protected] Abstract: The eighteenth century is considered as the golden age of epistolary art. If we analyse the historical and social value of letters, we notice that epistolary exchange soon becomes one of the principal ways of communication and of providing information. One of the most important qualities of the epistolary novel is its ability to effectively convey emotion. The epistolary novel removes the temporal distance between personal history and its written form. The most famous writers of the time (such as Montesquieu) and libertine writers social(Laclos importance and Sade in due particular) to the power employed of letter the toepistolary act as a vehicle novel in for different information. ways. ThisSo eighteenth-century emerges as one of literaturethe main reasonsis characterised for the rise by thein popularity successful of epistolary the epistolary novel. novel. Since the Modern Age letter has held great historical and Keyword: The Epistolary Novel in the Eighteenth Century novel, letter, modern Age, Eighteenth-century, France. Thanks to progress in learning and in postal organization, the letter becomes an important medium for communicating information and can be viewed as a precursor to the modern gazette. So the evolution of the epistolary form facilitates news circulation concerning politics, literature, family and society: it’s the main way a letter to enliven an ordinary life.
    [Show full text]
  • An Epistolary Novel Revisited: Alice Walker's Womanist Parody Of
    International Journal of Humanities and Social Science Vol. 6, No. 4; April 2016 An Epistolary Novel Revisited: Alice Walker’s Womanist Parody of Richardson’s Clarissa Dina Muhammad El-Hindi German Jordanian University Amman, Jordan P.O. Box 35247 Amman, Jordan 11180 Abstract Samuel Richardson’s Clarissa and Alice Walker’s The Color Purple use the epistolary form to directly tap into the psychology of the characters without the intervention of society’s restrictions on voicing taboo events, feelings or thoughts. Richardson’s use of this ‘bourgeois’ novel portrayed the inhibited desires of lovers to each other or to their confidants. However, Walker’s novel is a womanist parody of Clarissa; she uses letter-writing to give voice to the double oppression of the African-American female and her personal and emotion emancipation. The comparison will highlight how both novels allowed females to find a ‘voice’. Although Richardson is a male author, his use of the genre allowed him to highlight women’s issues. Walker, on the other hand, does not give her protagonist a ‘voice’ symbolize her isolation, oppression as a female and oppression as an African-American. Key Words: womanist, other, epistolary voice, oppression, ècriture. 1. Introduction The epistolary novel, or novel in letters, was virtually unknown as a literary genre before Samuel Richardson's Pamela (1740) and Clarissa (1747-8), which came later, but is considered the greatest and most extended novel in the epistolary form. Letter-writing, in its eighteenth century form, was used because it "enables the author to present multiple points of view on the same event" (Holman and Harmon, 1992, p.
    [Show full text]
  • Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
    Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’
    [Show full text]
  • Download Page (PDF)
    English 1 ENGL 2020 Introduction to Creative Writing: 3 semester hours English Prerequisites: ENGL 1100 or equivalent. This course is a creative writing survey and workshop focusing on the study of three genres-short fiction, Courses poetry, and creative nonfiction. Students learn primary concepts and techniques of craft, including narrative, voice, character, setting, imagery, ENGL 1030 Beginning Creative Writing: 3 semester hours metaphor, point-of-view. Students will explore literary conventions specific This course introduces students to the building blocks of creative writing to each genre, as well as universal qualities that make all writing effective and the writing workshop classroom. Students will explore how creative for an audience. The course requires three different kinds of writing: brief writers decide what material is best suited for a story, an essay, or a analytic essays, open-ended exploratory exercises, and carefully-revised poem. Pairing creativity with critical thinking, the course offers basic writing original work. This course fulfills the core requirement in Creative Writing practice and familiarizes students with primary concepts and techniques of and counts toward the Certificate in Writing. craft (e.g. narrative, point-of-view, voice and style, character development, ENGL 2030 Poetry Writing Jumpstart: 3 semester hours setting, imagery, and figurative language). Prerequisites: ENGL 1100 or equivalent. This course provides new poets, ENGL 1100 First-Year Writing (MOTR ENGL 200): 3 semester hours would-be poets, and curious non-poets with exercises, experiments, and Integrates critical reading, writing, and thinking skills and studies actual activities to explore two questions: what is a poem, and how does one writing practices.
    [Show full text]
  • Mahira Khan, Pakistani Actress, Talks What She Dreams About Now That She's Hit the Pinnacle of Stardom, Her Upcoming Film
    Community Community Richard US-based Russo’s Pakistani P7new novel P16 tech expert Chances Are... lays stress on need is a beguiling for mentoring young reunion of entrepreneurs and college friends. building startups. Thursday, August 8, 2019 Dhul-Hijja 7, 1440 AH Doha today: 350 - 450 COVER STORY Mahira Khan, Pakistani actress, talks what she dreams about now that she’s hit the pinnacle of stardom, her upcoming film and more. PP4-64-6 2 GULF TIMES Thursday, August 8, 2019 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 3.40am Shorooq (sunrise) 5.05am Zuhr (noon) 11.41am Asr (afternoon) 3.09pm Maghreb (sunset) 6.16pm Isha (night) 7.46pm Parey Hut Love of commitments when it comes to relationships. His life takes USEFUL NUMBERS DIRECTION: Asim Raza a twist when he meets a strong-willed, gorgeous girl and falls CAST: Sheheryar Munawar Siddiqui, Maya Ali, Zara Noor in love with her. Abbas, Faheem Azam, Ahmed Ali Butt SYNOPSIS: The story of a guy who is carefree and afraid THEATRES: The Mall, Landmark, Royal Plaza Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat Taxi 44588888 Qatar Airways 44496000 Hamad Medical Corporation 44392222, 44393333 Qatar General Electricity and Water Corporation 44845555, 44845464 Primary Health Care Corporation 44593333 44593363 Qatar Assistive Technology Centre 44594050 Qatar News Agency 44450205 44450333 Q-Post – General Postal Corporation 44464444
    [Show full text]
  • A Zsidó Identitástudat Ábrázolásának Kultúraszociológiai Olvasata Az Amerikai Játékfilmekben –
    Kárpáti Ildikó „Ilyenek voltunk” – A zsidó identitástudat ábrázolásának kultúraszociológiai olvasata az amerikai játékfilmekben – אהיה אשר אהיה (יד.ג שמות) Lektorálta: Kiss Endre Uhrman Iván Országos Rabbiképző – Zsidó Egyetem Budapest 2014 Tartalomjegyzék Előszó .................................................................................................................................. 4 Bevezetés ............................................................................................................................ 7 I. „Hollywood’s Jewish Question” ............................................................................... 9 1. Az amerikai filmipar zsidóságának kérdése ....................................................... 11 2. Filmipar és társadalom: a film kultúraszociológiája ........................................... 23 3. Filmes ábrázolás és sztereotípia ......................................................................... 29 4. Filmes ábrázolás és zsidó identitás ..................................................................... 34 5. „Amerikai zsidó film” ........................................................................................ 40 6. Filmes ábrázolás és zsidó vallástudomány ......................................................... 45 II. Bevándorlók és „kiváltságosok” – A zsidó identitás ábrázolása a kezdetektől a II. világháború kitöréséig ............................................................................................. 51 1. A zsidó mint bevándorló ....................................................................................
    [Show full text]
  • RALPH, NOGGS, FANNY, MRS. SQUEERS Pg 38-40 NOGGS. Yes Sir?
    RALPH, NOGGS, FANNY, MRS. SQUEERS Pg 38-40 NOGGS. Yes sir? RALPH. Who called in my absence? NOGGS. A strange looking man. Kept whittling at his dirty fingernails with a knife. Didn’t like the looks of him. RALPH. What did he want? NOGGS. Didn’t say. RALPH. Did he leave a name? NOGGS. Not a syllable as to his identity. RALPH. Anyone else? NOGGS. MRS. SQUEERS and FANNY Squeers. RALPH. What do they want? NOGGS. Didn’t say. RALPH. Admit them. (NOGGS exits. RALPH rubs his chin and thinks.) Hmmmm. Most unusual for that pair to be in London. (MRS. SQUEERS enters. FANNY follows her.) RALPH. I trust you have not waited long. MRS. SQUEERS. We would have waited all week to bring you news of your wretched nephew. RALPH. What’s this? Nicholas? MRS. SQUEERS. You may call him Nicholas. We call him assassin! Bandit! Criminal! Baboon! (FANNY wails and collapses on the bench. She cries hysterically.) FANNY. He should be punished. MRS. SQUEERS. That boy broke poor Fanny’s heart. He led her on, always lurking about, pretending that his love for her was deep and sincere. (FANNY wails all the more.) When he had her loyalty and love, he cast her aside. Casanova! Brute! Okra! FANNY. He’s wicked! (She wails again.) RALPH. I’m astonished. MRS. SQUEERS. There is more! RALPH. Not of a like nature, I trust. MRS. SQUEERS. Worse! It is me, Mrs. Squeers, who must come to London for the new boys. Poor Squeery was beaten so badly by your nephew that he cannot stir from his bed.
    [Show full text]
  • OBSERVER Vol
    OBSERVER Vol. 9 No. 1 September 25, 1998 Back Page Bot-man: License to Chafe Chris Van Dyke, John Holowach Front Page Proposed Performing Arts Center Building Site Angers Neighbors Montgomery Place contends the structure will destroy the continuity of their horizon By David Porter Miller Protested Firing Line Airs, Diversity Debate Continues Spring debate over the ACLU is broadcast, includes Students of Color protest unedited By Anna-Rose Mathieson Boot This! Campaigns Against Brock and Parking Club wants to pay tickets, end Boot, and challenge parking and road policies By Jessica Jacobs Page 2 News Briefs Student Center Hardhat Tours By Nate Schwartz Conference on War Crimes By John Holowach Page 3 Firing Line Episode (continued) Proposed Northern Dutchess Hospital Merger Officially Fails Administrative conflicts will keep Rhinebeck’s hospital a secular institution By Amanda Kniepkamp Earth Coalition Planning Several Events, Initiatives Upcoming: testing Bard’s tap water, a solar oven, campus clean-up efforts Page 4 Student Convocation Fund Budget Allotments, Fall 1998 Page 5 El Más Wicked Info-Revolution Henderson Computer Center’s new boss has a dream: for every community member an “information-technology dialtone” Joe Stanco Page 6 Beer and Circus: Budget Forum ‘98 Another parliamentary morass of drunken debate Leigh Jenco Green Party’s Kovel Asks Voters: Why Not? Former psychiatrist and activist, Bard Social Studies Professor Joel Kovel is running for the New York Senate Susannah E. David and Jeff GiaQuinto Student Association Officers
    [Show full text]
  • Sneedp2010.Pdf
    Redemption’s Sweet Song A Screenplay By Petronella Sneed Petronella Sneed 12477 Saint Andrews Drive # D Oklahoma City, Oklahoma 73120 [email protected] 405-409-3734 Table of Contents Acknowledgments i Redemption Sweet Song, A Screenplay 1 The Beginning and Background for Redemption’s Sweet Song 90 African Americans & Christianity 93 Comedy’s History in Black Communities 98 Synopsis 102 Literary Influences 103 Revisions 104 Audience 106 Conclusion 107 Works Cited 109 LOVE MADE THIS POSSIBLE! Special thanks to the two most important men in my life, Joshua Owen Sneed, a little boy that believes I am the greatest person in the world and Hillard G. Berry, the man that taught me that all it takes is a little love to make it through the toughest battles. I cannot send out my thanks without mentioning the professors who made a profound impact on my graduate school career, especially James Dolph, M.F.A, Dr. Deborah Israel, Dr. Matt Hollrah and Dr. Amy Carrell. I would be remiss if I didn’t pay homage to those professors from Adams State College who encouraged me to pursue a Masters in English. Thank you to Dr. David MacWilliams, Dr. John Taylor, and Dr. Carol Guerrero-Murphy. Ultimately, I cannot forget the trio that encouraged me when no one else did...God, my mother, Ruth Ann Sneed, and my grandmother, Petronella Ruby Sneed. OPENING CREDITS ROLL Instrumental version of Oh Happy Day plays in the background. A leggy blond dressed in a tank and sweat pants, strolls to a front door. On the other side of the door, a bi-racial man stands with roses in hand, a gold band gleaming in the sunlight.
    [Show full text]