SWPACA 2021 Program Final
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Conflicts in Appraising Lesbian Pulp Novels Julie Botnick IS 438A
Pulp Frictions: Conflicts in Appraising Lesbian Pulp Novels Julie Botnick IS 438A: Seminar in Archival Appraisal June 14, 2018 Abstract The years between 1950 and 1965 were the “golden age” of lesbian pulp novels, which provided some of the only representations of lesbians in the mid-20th century. Thousands of these novels sit in plastic sleeves on shelves in special collections around the United States, val- ued for their evocative covers and campy marketing language. Devoid of accompanying docu- mentation which elaborates on the affective relationships lesbians had with these novels in their own time, the pulps are appraised for their value as visual objects rather than their role in peo- ple’s lives. The appraisal decisions made around these pulps are interdependent with irreversible decisions around access, exhibition, and preservation. I propose introducing affect as an appraisal criterion to build equitable collections which reflect full, holistic life experiences. This would do better justice to the women of the past who relied on these books for survival. !1 “Deep within me the joy spread… As my whole being convulsed in ecstasy I could feel Marilyn sharing my miracle.” From These Curious Pleasures by Sloan Britain, 1961 Lesbian pulp novels provided some of the only representations of lesbians in the mid-20th century. Cheaper than a pack of gum, these ephemeral novels were enjoyed in private and passed discreetly around, stuffed under mattresses, or tossed out with the trash. Today, thou- sands of these novels sit in plastic sleeves on shelves in special collections around the United States, valued for their evocative covers and campy marketing language. -
Radicalizing Romance: Subculture, Sex, and Media at the Margins
RADICALIZING ROMANCE: SUBCULTURE, SEX, AND MEDIA AT THE MARGINS By ANDREA WOOD A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Andrea Wood 2 To my father—Paul Wood—for teaching me the value of independent thought, providing me with opportunities to see the world, and always encouraging me to pursue my dreams 3 ACKNOWLEDGMENTS I would like to thank Kim Emery, my dissertation supervisor, for her constant encouragement, constructive criticism, and availability throughout all stages of researching and writing this project. In addition, many thanks go to Kenneth Kidd and Trysh Travis for their willingness to ask me challenging questions about my work that helped me better conceptualize my purpose and aims. Finally, I would like to thank my friends and family who provided me with emotional and financial support at difficult stages in this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF FIGURES .........................................................................................................................7 ABSTRACT .....................................................................................................................................9 CHAPTER 1 INTRODUCTION ..................................................................................................................11 -
Authorities Displaced in the Novels of Russell Hoban
"We make fiction because we are fiction": Authorities Displaced in the Novels of Russell Hoban Lara Dunwell Submitted in fulfilhnent of the requirements for the degree of Master of Arts in English University of Cape Town 1995 University of Cape Town The fmancial assistance of the Centre for Science Development towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and not necessarily to be attributed to the Centre for Science Development. The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Acknowledgements: For her continued support and encouragement, I would like to thank my supervisor, Dr Lesley Marx; thanks also to my friends Kate Gillman and Catherine Grylls for their devotion to the onerous task of proofreading. Many others offered much-needed support and motivation: I remember with great appreciation my parents, Mike and Michele, my sister, Coral, Pauline Collins, and Jill Goldberg. I would like to dedicate this thesis to Jonathan Hoffenberg, who loaned his copy of The Medusa Frequency to me in 1989, and never asked me to return it! Finally, I must thank both the University of Cape Town, and the Centre for Science Development; without their financial support, this thesis would not have been written. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950S
Patricia Highsmith’s Queer Disruption: Subverting Gay Tragedy in the 1950s By Charlotte Findlay A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2019 ii iii Contents Acknowledgements ………………………………………………………………..……………..iv Abstract……………………………………………………………………………………………v Introduction………………………………………………………………………………………..1 1: Rejoicing in Evil: Queer Ambiguity and Amorality in The Talented Mr Ripley …………..…14 2: “Don’t Do That in Public”: Finding Space for Lesbians in The Price of Salt…………………44 Conclusion ...…………………………………………………………………………………….80 Works Cited …………..…………………………………………………………………………83 iv Acknowledgements Thanks to my supervisor, Jane Stafford, for providing always excellent advice, for helping me clarify my ideas by pointing out which bits of my drafts were in fact good, and for making the whole process surprisingly painless. Thanks to Mum and Tony, for keeping me functional for the last few months (I am sure all the salad improved my writing immensely.) And last but not least, thanks to the ladies of 804 for the support, gossip, pad thai, and niche literary humour I doubt anybody else would appreciate. I hope your year has been as good as mine. v Abstract Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together. -
44 MILLION REASONS to #Savegamingrevenue
44 MILLION REASONS TO #SaveGamingRevenue ECGRA has strategically invested $44 million in 203 community and cultural assets, 700 entrepreneurs and business lenders, job Grants training and educational institutions, and & Loans neighborhoods and municipalities. 6:1 Return Local share gaming revenue is strengthening the nonprofit ECGRA has invested $6.7 million in business TM organizations and for-profit $ growth through Ignite Erie resulting in $39.6 businesses in the city of Erie that 22mm million in additional capital for local companies. are implementing the city’s in the City comprehensive plan. $18.1million in gaming revenue is inextricably woven into $ Erie’s cultural, recreational, 18.1mm and human services assets, ECGRA’s investments have resulted QUALITY dramatically improving quality in a cumulative impact of $87.2 OF LIFE of life for residents and quality million, supported and sustained of experience for tourists. 573 573 jobs, and generated $2.9 JOBS million in local and state taxes. Two Ways to Help WRITE. CALL. ADVOCATE EDUCATE yourself. for Erie’s share. Transforming a Region with Local Share Gaming Revenue: An Economic Impact Study Tell Your Legislators How ECGRA Read and Share ECGRA’s Grant Money Works for You! Economic Impact Study at ECGRA.org/impactstudy ECGRA.org/calltoaction prepared by: @ECGRA814 #IgniteErie ECGRA.org/igniteerie /ECGRA ECGRA_Economic Impact Full Page Ad.indd 1 3/1/17 3:11 PM 44 MILLION REASONS TO CONTENTS: From the Editors The only local voice for Sometimes we all need a news, arts, and culture. March 29, 2017 Editors-in-Chief: little health care. Brian Graham & Adam Welsh #SaveGamingRevenue or an entire week recently, one of our Managing Editor: staff members had a nagging cough. -
Asexual Romance in an Allosexual World: How Ace-Spectrum Characters (And Authors) Create Space for Romantic Love
Asexual Romance in an Allosexual World: How Ace-Spectrum Characters (and Authors) Create Space for Romantic Love By Ellen Carter Published online: August 2020 http://www.jprstudies.org Abstract: Recent years have seen a surge in contemporary romance novels with ace- spectrum main characters who, despite not experiencing sexual attraction, still yearn for romantic and emotional connection and their happily ever after (HEA). They must navigate as outsiders an allosexual (non-asexual) world where sexual attraction is deemed normal, and where ace-individuals are pitied, assumed to be unwell, or suspected of having survived sexual abuse. This corpus study of sixty-five novels explores four approaches adopted by ace characters when negotiating romantic space in an allosexual world: an open relationship with an allosexual; a closed relationship with an allosexual; a polyamorous relationship with two (or more) allosexuals; or pairing up with another ace-spectrum character. Except for ace-ace relationships, these novels therefore tread unfamiliar territory in romance fiction because the sexual desires of the main characters are not aligned. In allosexual romance novels, a libido mismatch signifies an underlying physical or emotional problem to be overcome by one or more characters. However, in asexual romance fiction, non-aligned libidos are the norm and the characters must work together to understand each other’s sexual and romantic desires, and to co-create a new space in which all can thrive. In analyzing how ace romance fiction achieves HEA and how this can inform the lenses through which allosexual romance fiction is read, I look at several factors, including the co- occurrence of other queer orientations and identities; the authors’ orientation, especially those who identify as #ownvoices; how characters with different sexual desires handle consent; and discourses of romance versus intimacy. -
LGBT Pulp Fiction Collection, 1928-1989 : Ms.Coll.54
LGBT pulp fiction collection, 1928-1989 : Ms.Coll.54 Finding aid prepared by Sandra Glascock based on cataloging by Joan Lubin (2016) on October 24 2017 PDF produced on July 17, 2019 John J. Wilcox, Jr. LGBT Archives, William Way LGBT Community Center 1315 Spruce Street Philadelphia, PA 19107 [email protected] LGBT pulp fiction collection, 1928-1989 : Ms.Coll.54 Table of Contents Summary Information .................................................................................................................................... 3 Biographical / Historical ................................................................................................................................ 3 Scope and Contents ........................................................................................................................................ 4 Arrangement ................................................................................................................................................... 4 Administrative Information ............................................................................................................................ 4 Controlled Access Headings .......................................................................................................................... 5 Collection Inventory ....................................................................................................................................... 5 A .................................................................................................................................................................. -
Leveled Texts for Classic Fiction: Mythology
Contributing Author Wendy Conklin, M.S. Publishing Credits Dona Herweck Rice, Editor-in-Chief; Robin Erickson, Production Director; Lee Aucoin, Creative Director; Timothy J. Bradley, Illustration Manager; Sara Johnson, M.S.Ed., Senior Editor; Evelyn Garcia, Associate Education Editor; Grace Alba, Designer; Corinne Burton, M.A.Ed., Publisher Image Credits p. 31–150, The Bridgeman Art Library; Cover & all other images Shutterstock Standards © 2004 Mid-continent Research for Education and Learning (McREL) © 2010 National Governors Association Center for Best Practices and Council of Chief State School Officers (CCSS) Shell Education 5301 Oceanus Drive Huntington Beach, CA 92649 http://www.shelleducation.com ISBN 978-1-4258-0987-4 eISBN: 978-1-5457-0368-7 © 2013 Shell Educational Publishing, Inc. The classroom teacher may reproduce copies of materials in this book for classroom use only. The reproduction of any part for an entire school or school system is strictly prohibited. No part of this publication may be transmitted, stored, or recorded in any form without written permission from the publisher. Table of Contents What Is Fiction? The Importance of Using Fiction Elements of Fiction A Closer Look at Mythology Leveled Texts to Differentiate Instruction Teaching Suggestions How to Use This Book Correlation to Standards Setting Passages Odin’s Eye Perseus and Medusa Theseus and the Minotaur Character Passages Atalanta and Hippomenes, The Race Romulus and Remus Paris and the Golden Apple Perseus and the Gray Women Plot Passages Cupid and Psyche Echo and Narcissus Midas and the Golden Touch Orpheus and Eurydice Language Usage Passages Persephone The Trojan Horse Sif’s Golden Hair Thor and Elli References Cited What Is Fiction? Fiction is the work of imaginative narration. -
Download This Issue (PDF)
IS TODAY THE DAY YOU IGNITE YOUR FUTURE? If you have the spark, we have the programs to guide you toward a rewarding career. FORTIS offers programs in the following areas: Nursing • Medical/Dental • Business Criminal Justice • Skilled Trades CALL 1.855.445.3276 TEXT “IGNITE” TO 367847 FORTIS.EDU IGNITE YOUR FUTURE FORTIS INSTITUTE 5757 WEST 26TH STREET, ERIE, PA 16506 Financial Aid Available for those who qualify. Career Placement Assistance for All Graduates. For consumer information, visit Fortis.edu. GENERIC_Erie_10.5x12.25.indd 1 7/7/17 11:20 AM CONTENTS: From the Editors The only local voice for news, arts, and culture. Painting a Path Editors-in-Chief: April 11, 2018 Brian Graham & Adam Welsh eligions abound, and with them visions Managing Editor: A Sit-Down With Schember – 5 of the afterlife. The debate about exact- Nick Warren Rly what happens after death has raged Copy Editor: Recapping the new mayor’s first 100 days throughout the entire sliver of eternity that Matt Swanseger humankind has existed. Regardless of creed Contributing Editors: Ben Speggen Three Dems Debate for Erie’s New or denomination, however, many thinkers Jim Wertz over that span have viewed art as the passage IS TODAY Contributors: Congressional District – 9 to immortality. By creating some snapshot Maitham Basha-Agha of the human condition or the soul at a par- Mary Birdsong The Jefferson Educational Society will host Charles Brown Reiger, Multari, and DiNicola ticular moment in time, one can preserve his Jonathan Burdick or her memory long after the body is extin- Tracy Geibel Lisa Gensheimer The Human Experience – 10 guished. -
Eurydice Without Orpheus
Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 Eurydice without Orpheus Nora E. Offen Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Offen, Nora E., "Eurydice without Orpheus" (2011). Senior Projects Spring 2011. 5. https://digitalcommons.bard.edu/senproj_s2011/5 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Eurydice without Orpheus Senior Project submitted to The Division of Languages and Literature of Bard College by Nora Offen Annandale-on-Hudson, NY May 2011 2 “The love that consists in this: that two solitudes protect and border and greet each other.” For Mike Porter and Luisa Lopez. Acknowledgments I am grateful beyond words to my advisor, Joan Retallack, whose support has made work on this project possible, exhilarating, and deeply gratifying. And to my parents, Neil and Carol Offen, for providing their daughter with a house full of books, and a truly humbling depth of unconditional love. 3 Preface What follows is a poetic and critical reckoning with the Orpheus and Eurydice myth. -
Analyzing Gender Inequality in Contemporary Opera
ANALYZING GENDER INEQUALITY IN CONTEMPORARY OPERA Hillary LaBonte A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: Jane Schoonmaker Rodgers, Advisor Kristen Rudisill Graduate Faculty Representative Kevin Bylsma Ryan Ebright Emily Pence Brown © 2019 Hillary LaBonte All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts. Chapter 1 presents the analysis of all operas in OPERA America’s North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like “innovative” or “adventurous” in their mission statement are more likely to have greater female representation in the casts of their commissioned works.