Education, class and gender in George Eliot and Thomas Hardy

This dissertation examines the relationship between education, class and gender in The Mill on the Floss (1860) and Daniel Deronda (1876) by George Eliot; and in The Woodlanders (1887) and Jude the Obscure (1896) by Thomas Hardy. The Introduction discusses how, in nineteenth-century Britain, education was intended to improve individuals and society. The Introduction establishes the Marxist and feminist critical background of the study, and briefly surveys the nineteenth-century debates on The Education Question, and on education for women. The novels examined show education failing to \u27improve.\u27 Maggie Tulliver, in The Mill on the Floss, and Jude Fawley in Jude the Obscure cannot gain access to the knowledge they seek. They \u27educate\u27 themselves, without guidance; their \u27educations\u27 increase their alienation. Grace Melbury, in The Woodlanders, is sent from her rural home to London, to be educated as a \u27lady.\u27 This is impelled by her father\u27s social ambition, and has a disruptive, alienating effect on Grace. Daniel Deronda, in the novel of his name, has the advantages of social position, and of being a man, but his social and psychological integration are unconvincing. Textual analysis shows each narrator establishing a proprietary distance from subject matter and characters, and using a voice which identifies with the educated readership of the novels. Eliot\u27s narrators attempt to moderate the presentation of characters\u27 suffering, and to re-affirm family and community. Hardy\u27s narrators maintain an aloof, rationalistic stance, leaving characters to suffer alone. This contrast in aesthetic ideology has many causes, amongst which are the difference in gender between the two authors, and the fact that Hardy wrote at a later time than Eliot. The failure of education to socially or psychologically integrate characters is common to both authors. All four novels depict education as unable to change character, leading to the conclusion that education reinforced distinctions of class and gender, instead of removing them

Alfred Hitchcock: The Legacy of Victorianism

This provocative study traces Alfred Hitchcock\u27s long directorial career from Victorianism to postmodernism. Paula Cohen considers a sampling of Hitchcock\u27s best films—Shadow of a Doubt, Rear Window, Vertigo, Psycho—as well as some of his more uneven ones—Rope, The Wrong Man, Topaz—and makes connections between his evolution as a filmmaker and trends in the larger society. Drawing on a number of methodologies including feminism, psychoanalysis, and family systems, the author provides an insightful look at the paradox of a Victorian-style gentleman who evolved into one of the leading masters of the modern medium of film. Cohen sees Hitchcock\u27s films as developing, in part, as a masculine response to the domestic, psychological novels that had appealed primarily to women during the Victorian era. His career, she argues, can be seen as an attempt to balance the two faces of Victorianism : the masculine legacy of law and hierarchy and the feminine legacy of feeling and imagination. Also central to her thesis is the Victorian model of the nuclear family and its permutations, especially the father-daughter dyad. She postulates a fundamental dynamic in Hitchcock\u27s films, what she calls a daughter\u27s effect, and relates it to the social role of the family as an institution and to Hitchcock\u27s own relationship with his daughter, Patricia, who appeared in three of his films. Cohen argues that Hitchcock\u27s films reflect his Victorian legacy and serve as a map for ideological trends. She charts his development from his British period through his classic Hollywood years into his later phase, tracing a conceptual evolution that corresponds to an evolution in cultural identity—one that builds on a Victorian inheritance and ultimately discards it. Paula Marantz Cohen, professor of humanities and communications at Drexel University, is the author of The Daughter\u27s Dilemma: Family Process and the Nineteenth-Century Domestic Novel. A valuable contribution to Hitchcock studies. —Choice Cohen knows her movies and moviemaking techniques. . . . This is a fun, learned, and provocative book, especially for Hitchcock buffs. —Rapporthttps://uknowledge.uky.edu/upk_film_and_media_studies/1010/thumbnail.jp

6.3 Subterfuge

Rampike Vol. 6 / No. 3 (Subterfuge issue): John Berndt, Philippe Sollers, John Stickney, Kathy Acker, Western Cell Division, Frank Moorehouse, Pierre Joris, Jake Berry, Ronald Sukenick, Ann Noel, Dennis Oppenheim, George Bowering, Michael Heckert, Sheila Davies, Balint Szombathy, Harry Polkinhorn, Richard Martel, Joanna Gunderson, Dennis Cooley, Alain-Martin Richard, William A. Reid, Stan Rogal, W. Pope L., Annette Mangaard, Karen MacCormack, James Sallis, R. Bartkowech, Misha, Dominique Robert, Fortner Anderson, Lisa Teasley, Richard Gessner, Ken Gangemi, Thomas Baer, Mark Leyner, Marina LaPalma, D.G. Tenenbaum, Louis Lapointe, bill bissett, Geza Perneczky, Guy R. Beining, Gil Aufray, Waldemar B. Schwauss, Robert Morgan, Opal L. Nations, Ralph La Charity, Derek Pell, Christof Migone, Heidi Arnold, E.J. Cullen, Saul Yurkievich, LeRoy Gorman, Miekal And, John Oughton, Rich Gold, Andrea O’Reilly, Paul Dutton, Jim Francis. Cover Art: Ulrich Tarlatt

On her mouth you kiss your own: Lesbian conversations in exile, 1924-1936

This dissertation examines the work of four American lesbian expatriate novelists living and writing in Paris in the years between the two World Wars. Altogether six novels are discussed: The Uncertain Feast (1924), The Happy Failure (1925), and This Way Up (1927) by Solita Solano; The Cubical City (1925) by Janet Flanner; The One Who Is Legion (1930) by Natalie Clifford Barney; and Nightwood (1936) by Djuna Barnes. Guided by recent conjectures on the significance of sexuality and gender development proposed by such feminist theorists as Luce Irigaray and Monique Wittig, this dissertation explores these six novels for evidence of shared imagery and communally evolving concepts regarding such issues as female autonomy, female friendship, lesbian identity, lesbian passion, and androgyny. All three of Solita Solano\u27s novels sustain an overt critique of heterosexuality; The Uncertain Feast offers a background example of primary affection between women that may be recognized as a highly encoded model for lesbian relationship. In The Cubical City, Janet Flanner foregrounds women-identified love against a portrait of marriage as a formula for female surrender and submission. Natalie Barney\u27s The One Who Is Legion experiments with narrative form while proposing gynandry as the ideal human state. In Nightwood, Djuna Barnes advances the concept of lesbianism as an entirely alternative ontological stance in a narrative analysis that seems to anticipate the recent theories of Irigaray and Wittig. This study acknowledges Nightwood as a conscious disruption of patriarchal authority and challenges conventional interpretations of the novel as tragic. Images that recur in the work of Flanner, Solano and Barney are collected and developed to their greatest potential within the densely metaphoric language and structure of Nightwood. Barnes\u27s novel is recognized as the culmination of lesbian literary modernism that evolved during the first half of the twentieth century and is regarded as a work that ultimately calls for the necessity of devising a language capable of expressing female, and in particular, lesbian, reality

Helping and understanding the white-collar, middle aged male in the industrial setting

In today\u27s industry, motivation is a primary factor in performance (Glueck, 1977). Motivation. not only comes into play with the extrinsic factors of the working conditions but also deals with the intrinsic factors of the individual in question. What happens when this person reaches his mid-forties? Industry is now realizing the humanistic side of working and has noticed an attitudinal change in their employees at this time of life. Production reports show the physical changes (i.e., production quotas go down) but what causes these changes? How does it affect industry and how can industry help their employees at middle age

Demeter and Persephone : the mother-daughter bond in To the Lighthouse, The Bell Jar and Surfacing

The Demeter/Persephone myth is representative of story which has been often forgotten by our culture: that of the bond between mother and daughter and the significance of this as an empowering narrative for groups whose voices are not often heard, one which represents possibility of renewal and the search of identity for women. It is a myth which can be placed as a counterpoint to that of Oedipus, considered by W estem culture as the universal passage for the individual from childhood into adult life, offulfillment ofidentity. After reviewing Freud and Lacan's theories of psychoanalysis, and also considering several studies which contrasted as well as complemented these theories, such as those of Melanie Klein, Nancy Chodorow, Luce Irigaray, Julia Kristeva, Hélene Cixous and Teresa de Lauretis, among others, Virginia Woolfs To the Lighthouse, Sylvia Plath's The Bell Jar, and Margaret Atwood's Surfacing were examined. The narratives mentioned reenact the Demeter/Persephone myth in the relation of the protagonists with the women who played significant roles in their trajectories, and bring to light not only the importance of the bond between mother and daughter for the development of female identity, but also the multiplicity of different roles and potentials which are open to women outside the phallocentric system oflanguage and representation. These noveis can be seen as re-readings of the myth mentioned above, and indicate new forros of seeing women and their roles in society, and different ways by which women are portrayed in narratives. Thus, narrative, subjectivity and ideology are placed together to form the basis o f this work.O mito de Deméter e Perséfone representa uma história que com frequência é esquecida pela cultura dominante: aquela que se refere à ligação entre mãe e filha e ao significado desta ligação em narrativas que podem dar validação a grupos cujas vozes não são ouvidas e que oferecem possibilidades de renovação para a definição identitaria de mulheres. E um mito que se coloca como contraponto ao mito de Édipo, considerado pela cultura ocidental a passagem universal dos indivíduos da infância para a vida adulta, da realização de identidade. Após a revisão das teorias psicanalíticas de Freud e Lacan, além da revisão de vários estudos que contrastavam ou complementavam estas, tais como os de Melanie Klein, Nancy Chodorow, Luce Irigaray, Julia Kristeva, H6lene Cixous e Teresa de Lauretis, entre outros, os romances To the Lighthouse, de Virginia Woolf, The Bell Jar, de Sylvia Plath, e Surfacing, de Margaret Atwood, foram analisados. As narrativas destas obras re-encenam o mito de Deméter e Perséfone na relação das protagonistas com as mulheres que tiveram papel significativo em suas trajetórias, e trazem a tona não somente a importância da ligação entre mãe e filha para o desenvolvimento da identidade feminina, mas também a multiplicidade de papéis e potencialidades diferentes que se abrem para as mulheres e que podem romper com o sistema falocentrico de lingua e representação. Estes romances podem ser consideradas releituras do mito, indicando não somente novas formas de representação para as mulheres em seus papeis na sociedade, mas também apontando para formas diversas pelas quais mulheres são representadas em narrativas. Assim, narrativa, subjetividade e ideologia convergem para formar a base desta pesquisa

Greenwor(l)ds

Greenwor(l)ds rewrites the literary history of Canada from a feminist ecological perspective through a series of essays that examine the lives and work of nine women poets. Using insights from fields of knowledge as disparate as history and biology, physics and philosophy, psychoanalysis and communications studies, these essays reflect the transdisciplinary character of women's studies generally and feminist ecocriticism in particular

The Pacifican, November 13, 1981

https://scholarlycommons.pacific.edu/pacifican/3433/thumbnail.jp

In pursuit of the word : Robert Lowell's interest in the work of Osip Mandelstam

Lowell was initially attracted to Mandelstam at the start of the sixties because he was little known,providing the possibility of writing original translations. However, Lowell and Mandelstam's common focus on concrete detail, complex imagery and intellectual subject matter quickly caught Lowell's interest. These affinities along with Lowell's poetic skills enabled him to produce some excellent translations--in The Atlantic Monthly (1963) and The New York Review of Books (1965)--which compare favourably with other major Mandelstam translations. Lowell was also quickly inspired by the affirmation of Mandelstam's poetry in the face of difficult external circumstances. From 1967 onwards, Lowell's interest was sustained because Mandelstam's poetics was a realisation of what eluded Lowell in his own poetry. Both wished to escape the dualism of language and experience, achieving a harmonious merging of self and culture. They both tried specifically to transcend words to the Word by way of the word's polysemy--its ability to have multiple meanings. Mandelstam's success is seen in his affirmative descriptions of the polysemous word in his poetry and critical prose. Lowell's failure is seen in his undermining of the polysemous power of the following Notebook words: blood, green, window, walk, fall, back, breathe, by expressing a lack of faith in their ability to describe his experience. Notebook thus remains nihilistic and trapped in language. However, Lowell does gain brief respite from his own language by absorbing some of Mandelstam's language into Notebook through literary allusion. Drafts of Notebook contain a large number of Mandelstam translations which only remain as fragments in the final Notebook. The ultimate removal of these drafts suggests that Lowell may have accepted he could only rely on his own language. Indeed, Lowell's expressions of failure as poetic theme are ultimately what contribute to his poetry's success