547 research outputs found

    Stage(d) mothers: mother-daughter tropes in Twentieth-Century American drama

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    The relationship between mother and daughter is an important one for many women. In learning how to best become a successful member of society, daughters look to their mothers to demonstrate the behaviors and beliefs appropriate to a female. Such explicit and implicit instruction makes the mother-daughter relationship a central one in the socialization of women. Because it is such a powerful site, the mother-daughter relationship has received attention in the world of representation. Of particular import to this study is the representation of the mother-daughter relationship in Twentieth-Century American drama. Recent scholarship has shown that such representations can, however, have greater import than simply as representations of an interpersonal relationship. Instead, representations of mother-daughter relationships often represent and reinforce patriarchal norms of feminine behavior and social constraints. This study puts this recent scholarship into dialogue with many plays from the twentieth century, in order to explore this relationship between dramatic and theatrical representations of the mother-daughter relationship and patriarchal conventions. It is arranged thematically, so that plays with similar features of the mother-daughter relationship—“tropes”—are put into dialogue with one another. As a work of feminist scholarship, this work seeks to both identify patriarchal messages contained in plays throughout twentieth-century America, as well as the potential for resistance to those messages. It is not intended as a master-narrative of the discourse on the mother-daughter relationship, but rather as an opening of that discourse to the world of theatrical and dramatic representation

    More on the Origin of Refuge

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    Baha'is

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    “Non-linguistic” Browning: Meter and music in “Pietro of Abano”

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    Sapir (1921) suggests that Robert Browning’s poetry is “non-linguistic” in the way he uses the English language to convey thought. We explore the meter of a much criticized example of his poetry, his “Pietro of Abano” (1880), and conclude otherwise. The poem is in trochaic metre with extensive and systematic catalexis, i.e. unrealized metrical constituents possible only at phrase boundaries. We show that Browning locates phrase and even word boundaries so that they work sometimes for, but also sometimes conspicuously against these requirements, thus drawing attention to them. We also look at one of the poem’s most curious features, a musical score where the poem’s final lines would be expected to be, and note that rather than resolve these issues, it likewise accentuates them. We conclude that Browning’s poem draws attention to linguistic form, thus allying his practice more with Jakobson’s (1960) approach to poetry than Sapir’s

    Letters

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    With this issue I take my leave of the editorship of Refuge, and have the pleasure of announcing that the new editor will be Dr. Howard Adelman. Dr. Adelman is Director of the Refugee Documentation Project at York University. Refuge will be publicizing the work of the Project and will share support services with it
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