DOCSLIB.ORG

Victorian Women and the Carnivalesque in Six Novels

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Victorian Women and the Carnivalesque in Six Novels Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-10-2017 Victorian Women and the Carnivalesque in Six Novels Debra Threlkeld-Dent Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Threlkeld-Dent, Debra, "Victorian Women and the Carnivalesque in Six Novels." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/english_diss/174 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. VICTORIAN WOMEN AND THE CARNIVALESQUE IN SIX NOVELS by DEBRA THRELKELD-DENT Under the Direction of Leeanne Richardson, PhD ABSTRACT This analysis will explore the progression and transformation of carnivalesque theory in six novels. The carnivalesque analysis will focus on Victorian women and the working class over a time period beginning around 1830 and ending in 1910. The novels that comprise this study are Thomas Hardy’s The Return of the Native and Jude the Obscure; Elizabeth Gaskell’s North and South and Charlotte Bronte’s Shirley; and finally Arnold Bennett’s The Old Wives’ Tale and E. M. Forster’s Howards End. The study intends to show a progression in the role of women that utilizes carnivalesque display as a vehicle. Women in the Hardy novels represent those who rebel against prescriptive Victorian mores in the midst of carnivalesque scenes. Hardy intends to use transgressive women and the suffering they endure to illustrate how Victorian rules of decorum and the institution of marriage are confining to point of being destructive. Gaskell and Bronte’s novels represent industrial or condition-of-England novels that show how Victorian women gain greater access and understanding of the working class and poor through spending time with these groups while performing charitable works. The carnivalesque has indeed undergone a partial transformation because scenes that overturn authority occur not only in public settings like the marketplace, but they also show up in the form of worker strikes and uprisings. Because the females in these novels have a greater understanding of the plight of the poor workers, they are able to advocate on their behalf and exert influence upon the managers and owners that helps to bring about reform in the workers’ situation. Finally the last two novels represent the culmination of this study as they reveal how carnivalesque scenes, both public and private, frame the experiences of two sets of sisters, both of which occupy the liminal space between the Victorian Age and Modernism. Women have progressed to the point of being able to overcome adversity and personal failure and grow into strong, independent individuals who speak for themselves, live independently, exert their own authority, and finally vote. INDEX WORDS: carnivalesque, carnival, transgression, hierarchy, female, Victorian VICTORIAN WOMEN AND THE CARNIVALESQUE IN SIX NOVELS by DEBRA THRELKELD-DENT A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2017 Copyright by Debra Threlkeld-Dent 2017 VICTORIAN WOMEN AND THE CARNIVALESQUE IN SIX NOVELS by DEBRA THRELKELD-DENT Committee Chair: Leeanne Richardson Committee: Paul Schmidt Melissa McLeod Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2017 iv DEDICATION I would like to express sincere thanks and love to my husband, Hal Dent for his patience, support, encouragement, and belief in my ability to complete this project. I also want to thank my daughter, Brandi Dent Jones and my son, Tripp Dent for always believing in their mom and for just being wonderful children. Finally, thanks to Barbara Calhoon, who gently pushed me to finish even when I wanted to give up and throw in the towel. v ACKNOWLEDGEMENTS I would like to express sincere thanks to my dissertation director, Leeanne Richardson for always having something good to say, for believing in my ability, and for her unwavering support. Also, thanks to Melissa Kendall McLeod and Paul Schmidt for serving on my committee and taking time to read my work and provide valuable feedback and encouragement. vi TABLE OF CONTENTS INTRODUCTION……………………………………………………………………1 CHAPTER 1: THEORETICAL OVERVIEW OF THE CARNIVALESQUE AS PORTRAYED IN SELECTED NOVELS………………………………………………….5 CHAPTER 2: FEMININE EXPRESSION OF UNREST THROUGH THE CARNIVALESQUE AND TRANSGRESSIVE DOMESTIC ACTS: THOMAS HARDY’S RETURN OF THE NATIVE AND JUDE THE OBSCURE………………………………18 CHAPTER 3: VISION, VOICE, AND KNOWLEDGE AS CARNIVALESQUE: ELIZABETH GASKELL’S NORTH AND SOUTH AND CHARLOTTE BRONTE’S SHIRLEY……………………………………………………………………………………54 CHAPTER 4: WOMEN, AGENCY, AND TRANSFORMATION IN THE TURN- OF-THE-CENTURY NOVEL: WOMEN’S CARNIVALESQUE POWER IN ARNOLD BENNETT’S OLD WIVES’ TALE AND E. M. FORSTER’S HOWARDS END……….91 CONCLUSION……………………………………………………………………128 WORKS CITED…………………………………………………………………..133 1 INTRODUCTION Long before I ever heard of Mikhail Bakhtin’s theory of the carnivalesque, fairs, festivals, costume parties, and rock concerts held a special attraction for me. I loved the sense of freedom that these events carried: the freedom to be someone besides the shy bookworm in the back of my high school classroom, the freedom to dress as outlandishly as I wished, the freedom to speak freely, the freedom to thumb my nose at authority, and the freedom to dance. Of course, this liberation from everyday life was only temporary, and once the event ended, I returned to my quiet corner and my books. Thomas Hardy’s novels were among my favorites. I read every one that the school library had: Desperate Remedies, The Return of the Native, Tess of the D’Urbervilles, The Mayor of Casterbridge, and Far from the Madding Crowd. I loved the doomed romances, the fatalistic tone, and the tragic endings. I was reading for pleasure, not for analysis, so I thought nothing about issues of women, the poor working class, or the Imminent Will. However, I loved the scenes that included fairs, mummeries, skimmity rides, and dancing because they portrayed freedom, joy, and power. Fast forward to graduate school where my interest in Hardy continued to thrive. I belonged to an online Hardy reading group, and we were discussing fairs in Hardy’s novels. Someone mentioned Bakhtin’s Rabelais and His World and carnivalesque theory. That is the moment when I knew what I wanted to research. By then I had read many other Victorian novels by the likes of Dickens, Thackeray, the Brontes, Gaskell, Eliot, and of course, Hardy. I started looking for depictions of fairs or other events during which women and the working class were able to express themselves freely and temporarily overturn the authority of males in charge. I noticed that these acts of transgression did not have to occur at fairs; often this topsy-turvy dynamic occurred in the marketplace, the workplace, and even in the private Victorian home. 2 Therefore, I expanded notions of the carnivalesque to include other spaces. I looked primarily to Bakhtin’s theory, then to Stallybrass and White and Friedrich Nietzsche, and followed with Terry Castle, Ruth Firor, Robert W. Malcolmson, Elizabeth Langland, Constance Harsh, Rosemarie Morgan, and many others who wrote about not only the carnivalesque, but about transgressive women, the British labor movement, Victorian women, Victorian entertainment, the new woman, and movements of reform. I began to connect depictions of the carnivalesque in certain novels with social issues of the day, specifically those of women, the working class, and the poor. I noticed that because Victorian women often shared the same physical space with the lower classes through shopping in the marketplace, doing church work, or visiting the homes of the poor for charitable purposes, these women had access to and insight into the lives of impoverished workers. The knowledge of Victorian women regarding the lives of the downtrodden far surpassed that of men in positions of authority. I also noticed an unspoken alliance between women and the poor that grew out of the shared marginal experience of otherness. In many novels middle class women began to communicate on behalf of the poor workers and to exert influence upon the male managers and owners. Specifically novels of Charlotte Bronte and Elizabeth Gaskell deal with industrial England and portray female protagonists who not only communicate with the poor workers, but also speak out in their defense, thus raising awareness of the plight of the workers and helping to bring about change in the owners’ attitudes. Generally, carnivalesque scenes frame these narratives and act as vehicles of positive developments for workers. Hardy’s novels, however, present more scenes of traditional carnivalesque events. Through mummeries, hiring fairs, gypsying dances, Guy Fawkes’ Day bonfires, and skimmity rides, Hardy’s characters of the lower realm, both male and female, turn the world upside down 3 and seize power from those in charge whenever the opportunity arises. However, Hardy’s female characters often use these opportunities to cross boundaries of feminine decorum and misbehave. Hardy’s women suffer for their misdeeds,
Load more

Recommended publications
  • Scrolls of Love Ruth and the Song of Songs Scrolls of Love
    Edited by Peter S. Hawkins and Lesleigh Cushing Stahlberg Scrolls of Love ruth and the song of songs Scrolls of Love ................. 16151$ $$FM 10-13-06 10:48:57 PS PAGE i ................. 16151$ $$FM 10-13-06 10:48:57 PS PAGE ii Scrolls of Love reading ruth and the song of songs Edited by Peter S. Hawkins and Lesleigh Cushing Stahlberg FORDHAM UNIVERSITY PRESS New York / 2006 ................. 16151$ $$FM 10-13-06 10:49:01 PS PAGE iii Copyright ᭧ 2006 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, me- chanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Scrolls of love : reading Ruth and the Song of songs / edited by Peter S. Hawkins and Lesleigh Cushing Stahlberg.—1st ed. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8232-2571-2 (cloth : alk. paper) ISBN-10: 0-8232-2571-2 (cloth : alk. paper) ISBN-13: 978-0-8232-2526-2 (pbk. : alk. paper) ISBN-10: 0-8232-2526-7 (pbk. : alk. paper) 1. Bible. O.T. Ruth—Criticism interpretation, etc. 2. Bible. O.T. Song of Solomon—Criticism, interpretation, etc. I. Hawkins, Peter S. II. Stahlberg, Lesleigh Cushing. BS1315.52.S37 2006 222Ј.3506—dc22 2006029474 Printed in the United States of America 08 07 06 5 4 3 2 1 First edition ................. 16151$ $$FM 10-13-06 10:49:01 PS PAGE iv For John Clayton (1943–2003), mentor and friend ................
    [Show full text]
  • I Was a Teenage Negro! Blackface As a Vehicle of White Liberalism in Finian's Rainbow
    I Was a Teenage Negro! Blackface as a Vehicle of White Liberalism in Finian's Rainbow Russell Peterson Obviously we hope you will enjoy your evening with us, but before the curtain goes up we would like to forewarn you about what you will see. Finian s Rainbow is a joyous musical cel­ ebrating life, love, and the magic that lives in each of us, but it is also something more. Produced in 1947, it was one of the American theater's first attempts to challenge racism and big­ otry. With the two-edged sword of ridicule and laughter it punctured the stereotypes that corrupted America. In doing so it created something of a stereotype itself. If it seems at times that our cast makes fun of racial or social groups, it is only that we wish to expose and deride the bigotry that still would gain a hearing in our hearts. —program note from Edison Jun­ ior High School's (Sioux Falls, SD) 1974 production of Finian's Rainbow I might as well confess right up front that this article's title is a bit of a tease. While I did play a sharecropper in Edison Junior High's 1974 production of Finian s Rainbow, I was as white onstage as I was (and am) off. In this case, however, color-coordination of actor and role was less a matter of race-appro­ priate casting than of directorial whim. Allow me to explain. 0026-3079/2006/4703/4-035$2.50/0 American Studies, 47:3/4 (Fall-Winter 2006): 35-60 35 36 Russell Peterson Finian was a big Broadway hit in 1947.
    [Show full text]
  • Messages of American Popular Song to Women During World War II
    “I’m Doin’ It for Defense”: Messages of American Popular Song to Women during World War II A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements of the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2013 by Amy Brooks BM, Bob Jones University, 2008 Committee Chair: bruce d. mcclung, PhD Abstract World War II presented many new opportunities for American women. In this time of need, they were called upon to take an active part in the war effort, whether by means of working in a factory, growing a victory garden, or serving as a volunteer for wartime organizations. Women made great strides forward in areas such as the workforce and the military. The American popular song industry promoted these new roles for women. I have compiled over 150 songs from 1940 to1945 that relate to women’s roles during the World War II era. Of these songs, I have chosen a select number of songs that best demonstrate popular culture’s attitudes and actions towards women during the war. These songs can be divided into five categories: women in the military, women in the workforce, women’s war effort, women’s responsibilities to men in uniform, and women in the immediate post-war period. I have studied the representative songs by considering their lyrics to identify the objectives supported by the popular song industry. I took into consideration the venues in which they were presented and how these performances influenced their reception.
    [Show full text]
  • Reflection and Retrospection: a Pedagogic Mystery Story
    PHILLIP LOPATE Reflection and Retrospection: A Pedagogic Mystery Story The Fourth Genre, Spring 2005 By Phillip Lopate In writing memoir, the trick, it seems to me, is to establish a double perspective, that will allow the reader to participate vicariously in the experience as it was lived (the confusions and misapprehensions of the child one was, say), while conveying the sophisticated wisdom of one’s current self. This second perspective, the author’s retrospective employment of a more mature intelligence to interpret the past, is not merely an obligation but a privilege, an opportunity. In any autobiographical narrative, whether memoir or personal essay, the heart of the matter often shines through those passages where the writer analyzes the meaning of his or her experience. The quality of thinking, the depth of insight and the willingness to wrest as much understanding as the writer is humanly capable of arriving at—these are guarantees to the reader that a particular author’s sensibility is trustworthy and simpatico. With me, it goes further: I have always been deeply attracted to just those passages where the writing takes an analytical, interpretative turn, and which seem to me the dessert, the reward of prose. So it startled me when I began to discover among my writing students a fierce reluctance to allow their current, mature reflections to percolate through accounts of past experiences. When I say “writing students” I don’t mean only undergraduates, but graduate MFA candidates in creative non­fiction, who had dedicated themselves, at great fiscal expense and personal sacrifice, to the lifelong practice and, often, teaching of literature.
    [Show full text]
  • Detective Fiction by Black Women
    Universität Potsdam Anglistik/Amerikanistik: Literatur/Kultur Betreuer: Dr. Jürgen Heiß Magisterarbeit Between Afrocentrism and Universality: Detective Fiction by Black Women Beate Schiller Matrikelnummer: 129991 2 Contents 1. Introduction 3 2. Emergence of New Black Literature 7 2.1 Tendencies of African-American Literature in the 1990s 7 2.2 The Rise of Detective Fiction by African-American Women 16 3. Heroes of a Different Kind? 23 3.1 Character Concepts 23 3.2 Characters and Stories 26 First Meeting with Tamara and Blanche 27 The Detectives 30 The Black Woman 43 4. Composing and Reading 63 Works Cited 83 3 1. Introduction Why have we – black women – become the subjected subjects of so much contemporary scholarly investigation, the peasants under glass of intellectual inquiry in the 1990s? Anne duCille, Black Womanhood (1997) Within commodity culture … ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream white culture. bell hooks, Black Looks (1992) In the 1990s, black women writers have gradually conquered the sphere of the former white male dominated hard-boiled and classic genres of detective fiction. They have thus entered the mainstream which has been dominated by white Anglo-Saxon culture and therefore they have had to adapt to the specific mechanisms that connect the genre, the market, and the reader. In general, the 1990s have brought a renaissance to black literature in the United States of America. More and more black writers were published, not only in specialized small presses but increasingly in mainstream publishing houses; black writing also conquered the genres of popular culture, such as science fiction and detective fiction.
    [Show full text]
  • The Bridge That Widens the Gap
    The Bridge that Widens the Gap Critical Geopolitical research concerning the construction of post-colonial EU-Turkey relations Richard Huttinga 2 The Bridge that Widens the Gap Critical Geopolitical research concerning the construction of post-colonial EU-Turkey relations Masterthesis Human geography Specialization: ‘Europe: borders, identities and governance’ Richard Huttinga S0725749 Nijmegen, June 2013 Thesis supervisor: dr. O.T. Kramsch Radboud University Nijmegen 3 Acknowledgement This thesis is developed in the master Human Geography –Europe: borders, identities and governance. Studying critical geopolitics embarked the need to further deconstruct classical geopolitical narratives. Taking on this critical view on classical geopolitical theories lay bare the inconspicuous position of geopolitical Turkey and encouraged to conduct this research. I want to thank my thesis supervisor dr. Olivier T. Kramsch for his ‘spot on’ theoretical insights. As well as the supervisor of the Institute for Turkish Studies, drs. Armand Sag, for spending his time on reading and discussing this research, and for giving me the opportunity to deepen the research in the setting of the academic institute. 4 Temporary One, Fleetwood Mac Where are you darlin', when my Moon is risin', and your Sun is shinin' down What are you doin', are you Missin' me The way that I'm missin' you now The river goes on and on, and the Sea that divides us is a Temporary one, and the Bridge will bring us back together What are you doin', goin' Down in to Soho as I Get my rest tonight What are you doin', are you Busy with your world Well I wish you were busy with mine (Fleetwood Mac, 1997) 5 Table of Contents Acknowledgement.............................................................................................................................
    [Show full text]
  • It's Time to Rip up Some Shag!
    Dust off your big hoop earrings and slip into those bell bottoms Pants it’s time to rip up some Shag! Experience lush rock harmonies and pure rock n’ roll! A TRIBUTE TO FLEETWOOD MAC z MICK JOHN Guitar Vocals Alex Miranda LINDSEY John Sundstrom D.J. Lauria Mary Ann Rossoni STEVIE CHRISTINE Susan Johnston Terry Wood Photography: Colleen Marshall Design: Second Story Graphics View live show video stream of Rumours at: www.susanjohnston.biz T: 323.833.2088 E: [email protected] The Chain You Make Lovin’ Fun Blue Letter Silver Springs Everywhere Bleed to Love Her Leather and Lace Dreams Hold Me Sarah The Players TheI Don’t Songs Want to Know Susan Johnston - vocals / tambourine Big Love AS LONG AS YOU FOLLOW A.K.A. STEVIE NICKS Don’t Stop Sue has been gigging for 8 years in classic rock bands, has written and STOP DRAGGIN MY HEART AROUND recorded songs for Greenpeace, Coalition Against Domestic Violence and Wish Songbird Come True. She has opened for National Acts Kansas, Herman’s Hermits, BLEEDOh WellTO LOVE HER Gary Puckett and the Union Gap and Blood Sweat & Tears. I DONTMonday WANT Morning TO KNOW And, you’ve seen her on the big screen. DONTGold STOP Dust Woman Alex Miranda - drums BIG LittleLOVE Lies A.K.A. MICK FLEETWOOD EVERYWHERESecond Hand News Alex Miranda has been an active part of the New England music scene for over Stand Back 20 years. He has played drums, guitar and bass guitar for many regional and GYPSY national touring acts, including JoyPopper, Danny’s Idols & Silver Son (X-Off GO YOUROver My OWN Head WAY Records).
    [Show full text]
  • ABOUT the POET and HIS POETRY William Blake
    ABOUT THE POET AND HIS POETRY William Blake William Blake was born in London on November 28, 1757, to James, a hosier, and Catherine Blake. Two of his six siblings died in infancy. From early childhood, Blake spoke of having visions—at four he saw God ―put his head to the window‖; around age nine, while walking dathrough the countryside, he saw a tree filled with angels. Although his parents tried to discourage him from ―lying," they did observe that he was different from his peers and did not force him to attend conventional school. He learned to read and write at home. At age ten, Blake expressed a wish to become a painter, so his parents sent him to drawing school. Two years later, Blake began writing poetry. When he turned fourteen, he apprenticed with an engraver because art school proved too costly. One of Blake‘s assignments as apprentice was to sketch the tombs at Westminster Abbey, exposing him to a variety of Gothic styles from which he would draw inspiration throughout his career. After his seven-year term ended, he studied briefly at the Royal Academy. In 1782, he married an illiterate woman named Catherine Boucher. Blake taught her to read and to write, and also instructed her in draftsmanship. Later, she helped him print the illuminated poetry for which he is remembered today; the couple had no children. In 1784 he set up a printshop with a friend and former fellow apprentice, James Parker, but this venture failed after several years. For the remainder of his life, Blake made a meager living as an engraver and illustrator for books and magazines.
    [Show full text]
  • Developing a Heart and Mind for Christ
    T BAR M CAMPS 2020 PLAYBOOK PRAYER FOR T BAR M CAMPS 2020 SUMMER STAFF “Now to Him who is able to do immeasurable more than all we ask or imagine, according to His power that is at work within us, to Him be the glory in the church and in Christ Jesus throughout all generations, for ever and ever! Amen.” Ephesians 3:20, 21 Heavenly Father, we look to be amazed at all You will do this summer. May Your grace and favor fill us daily; may Your love and goodness satisfy our hearts; may Your wisdom and understanding guide our words, thoughts and actions; may Your kindness and faithfulness flow through each of us; may the righteousness of Christ take hold of us; may Your power be at work within each and every one of us serving for Your honor and glory throughout all generations. Thank You Father for calling this summer camp staff to connect others to You. Thank You for this opportunity and to be a part of changing someone’s forever. We ask this all in the matchless name of your Son, Jesus Christ! Amen and Amen 1 WELCOME TO T BAR M Since you may or may not know much about T Bar M, let us introduce ourselves. In the summer, we are a sports camp, a waterfront adventure camp, a day camp, a family camp, as well as a retreats program serving drill teams and a variety of other groups. We have been offering summer camps in New Braunfels since 1982, in Spicewood since 1997 and on church properties since 2015.
    [Show full text]
  • PETTY, Tom, and the Heartbreakers 1980S: #25 / 1990S: #25 / All-Time: #79 Born on 10/20/1950 in Gainesville, Florida
    G DEBUT PEAK WKS O ARTIST L DATE POS CHR D Album Title Label & Number PETTY, Tom, And The Heartbreakers 1980s: #25 / 1990s: #25 / All-Time: #79 Born on 10/20/1950 in Gainesville, Florida. Died of a heart attack on 10/2/2017 (age 66). Rock singer/songwriter/guitarist. Formed The Heartbreakers in Los Angeles, California: Mike Campbell (guitar; born on 2/1/1950), Benmont Tench (keyboards; born on 9/7/1953), Ron Blair (bass; born on 9/16/1948) and Stan Lynch (drums; born on 5/21/1955). Howie Epstein (born on 7/21/1955; died of a drug overdose on 2/23/2003, age 47) replaced Blair in 1982; Blair returned in 2002, replacing Epstein. Steve Ferrone replaced Lynch in 1995. Scott Thurston (of The Motels) joined as tour guitarist in 1991 and eventually became a permanent member of the band. Petty appeared in the movies FM, Made In Heaven and The Postman and also voiced the character of Elroy “Lucky” Kleinschmidt on the animated TV series King Of The Hill. Member of the Traveling Wilburys. Tom Petty & The Heartbreakers were the subject of the 2007 documentary film Runnin’ Down A Dream, directed by Peter Bogdanovich. One of America’s favorite rock bands of the past five decades; they had wrapped up a 40th Anniversary concert tour shortly before Petty’s sudden death. Also see Mudcrutch. AWARDS: R&R Hall of Fame: 2002 Billboard Century: 2005 9/24/77+ 55 42 G 1 Tom Petty & The Heartbreakers................................................................................................................................. Shelter 52006 6/10/78 23 24 G 2 You’re Gonna Get It! ..................................................................................................................................................
    [Show full text]
  • 08 Prop100.Fm
    Arizona Ballot Proposition Guide Special Election ~ May 18, 2010 PROPOSITION 100 OFFICIAL TITLE SENATE CONCURRENT RESOLUTION 1001 A CONCURRENT RESOLUTION PROPOSING AN AMENDMENT TO THE CONSTITUTION OF ARIZONA; AMENDING ARTICLE IX, CONSTITUTION OF ARIZONA, BY ADDING SECTION 12.1; RELATING TO TEMPORARY TRANSACTION PRIVILEGE AND USE TAXES. TEXT OF PROPOSED AMENDMENT Be it resolved by the Senate of the State of Arizona, the House of Representatives concurring: 1. Article IX, Constitution of Arizona, is proposed to be amended by adding section 12.1 as follows if approved by the voters and on proclamation of the Governor: 12.1. Temporary taxes; repeal from and after May 31, 2013 SECTION 12.1. A. A TEMPORARY TAX IS LEVIED FOR THE PURPOSE OF RAISING STATE REVENUES FOR PRIMARY AND SEC- ONDARY EDUCATION, HEALTH AND HUMAN SERVICES AND PUBLIC SAFETY. B. THE TEMPORARY TAX IS LEVIED AND SHALL BE COLLECTED BEGINNING ON JUNE 1, 2010 AND SHALL CONTINUE FOR THIRTY-SIX CONSECUTIVE CALENDAR MONTHS, AFTER WHICH THE TEMPORARY TAX IS REPEALED. C. THE TEMPORARY TAX IS LEVIED AS A SEPARATE RATE INCREMENT IN ADDITION TO THE STATE TRANSACTION PRIVILEGE TAX RATES AND THE USE TAX RATE. THE RATE OF THE TEMPORARY TAX IS ONE PER CENT OF THE TAX BASE FOR EACH TRANS- P P ACTION PRIVILEGE CLASSIFICATION THAT IS SUBJECT TO A RATE OF FIVE PER CENT OR MORE AND ONE PER CENT OF THE TAX P P R R BASE FOR THE USE TAX. R R O O D. THE TEMPORARY TAX IS SUBJECT TO THE SAME EXEMPTIONS, DEDUCTIONS AND EXCLUSIONS AS PROVIDED BY LAW O O P P FOR EACH TRANSACTION PRIVILEGE TAX CLASSIFICATION AND FOR THE USE TAX.
    [Show full text]
  • Representations of Disability in the Music and Persona of Morrissey
    "IN OUR DIFFERENT WAYS WE ARE THE SAME": REPRESENTATIONS OF DISABILITY IN THE MUSIC AND PERSONA OF MORRISSEY Daniel Manco A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Jeremy Wallach, Advisor Becca Cragin © 2009 Daniel Manco All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disability studies, an interdisciplinary field of relatively recent provenance but growing prominence, investigates the social, political, economic, and cultural factors that contribute to definitions of disability as they emerge within specific but ever-shifting historical contexts. Cultural disability studies, a lively subfield, takes particular interest in the role that representations of disability across a variety of media play in shaping both individual and collective (architectural, attitudinal, educational, legal, and occupational) responses to the needs of disabled persons. Despite its centrality to human expression, however, music in general, and popular music specifically, have seldom attracted the attention of cultural disability studies scholars. This thesis seeks to help redress this omission in the cultural disability studies literature by examining representations of disability in the music and persona of Morrissey, singer and lyricist for the seminal 1980s indie rock group The Smiths and, in the two decades since their break-up, a successful solo artist in his own right. Borrowing concepts from music theory and psychoanalysis, I first consider the ways in which the paralinguistic elements of Morrissey’s music, and the discourse that has surrounded it, can be understood as representing disability and articulating a host of attitudes thereto.
    [Show full text]