Characterization in Pride and Prejudice, Emma, Persuasion by Jane Austen

Thesis (M.A.)--Boston Universit

Alien Registration- Sullivan, Margaret (Reed Plantation, Aroostook County)

https://digitalmaine.com/alien_docs/32794/thumbnail.jp

“To See My Home Before I Die”: The Trip to Bountiful, Memento Mori, and the Experience of Death

This article analyzes the portrayal of death in Peter Masterson’s 1985 film The Trip to Bountiful. My claim is that the experience of death, in the film, functions as a tool both for the elderly main character’s increased self-understanding and for her conscious, ethical action. I enter this discussion through an examination of late deconstruction’s ethical turn and the argument that aporetic unknowing, if experienced and endured, leads to the chance for real, authentic action. I then demonstrate how the film depicts such an aporetic encounter with death, and do so, in large part, by focusing on the film’s final scenes, in which Carrie Watts returns to Bountiful, her cherished childhood home, and finds death and decay all around her. While previous scholars who have analyzed The Trip to Bountiful have found it to be a story of home, or nature, or family, I bring to light another interpretive approach: The Trip to Bountiful, through its sustained engagement with the very event of death, uses that experience of death to foster a real and tangible shift in one woman’s interactions with the world

Let There Be Rose Leaves’: Lesbian Subjectivity in Virginia Woolf’s The Waves.

This essay analyzes the religious argument that Virginia Woolf, through the paired characters of Rhoda and the lady at Elvedon, develops in The Waves. Specifically, I make a three-tiered claim. First, although both Rhoda and the lady are responses to a Judeo-Christian orthodoxy that, in Three Guineas, Woolf says quieted generations of prophetesses (146), the two differ in their relationship to one fundamental story: Genesis and the Garden of Eden. The lady is trapped in Elvedon, a quasi-Edenic space. Rhoda, on the other hand, lesbianizes the Garden, centering it around her beloved Miss Lambert. Second, Rhoda’s final soliloquy radically transforms her relationship to the Garden story, effectively articulating a religious narrative outside inherited, patrilineal constructs. “Let there be rose leaves; let there be vine leaves” (204), Rhoda says, explicitly appropriating the “authority” of God-the-Father’s creative voice. Third, when Rhoda dies after her God-like utterance, Woolf makes the point that challenges to the authority of the garden, to the first, foundational, hetero text, simply will not succeed. The garden, as the original story of heterosexual desire, refuses to be appropriated by the non-normative sexual subject. Eden, quite simply, cannot be queered

Predicting success in tenth grade geometry.

Thesis (M.A.)--Boston Universit

Alien Registration- Dunlay, Margaret (Bangor, Penobscot County)

https://digitalmaine.com/alien_docs/10384/thumbnail.jp

A summary of the literature on study skills in the social studies for intermediate grades.

Thesis (Ed.M.)--Boston Universit