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Unlimited passion: the opposing schools of stage violence in Shakespeare and KaneBrasherfons, Lukas 01 May 2017 (has links)
William Shakespeare and Sarah Kane are playwrights who for drastically different reasons have left indelible impacts upon the theatrical world. A key factor in each of their plays is the presentation of violence. Shakespeare uses violence for observable, orthodox reasons of driving the plot forward, while Kane uses it for sensory effect, social commentary, and for subverting traditional narrative expectations. This study examines how violence and fighting work as dramaturgical tools in these playwrights’ work, by individual examination, juxtaposition, and the use of other pieces of drama to inform these two differing schools of theatrical violence.
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Subject matter: feminism, interiority, and literary embodiment after 1980Lawson, Jessica Lynn 01 August 2015 (has links)
I argue that literary texts after 1980 use the fluid relationship between the physical world and the world of writing in order to present alternate versions of the body’s relationship to the mind. Examining works by Toni Morrison, William Gibson, Kathy Acker, Sarah Kane, and Shelley Jackson, I demonstrate the ways in which these texts reinterpret the relationship between mind and body by offering bodily metaphors for their character’s interior emotional lives; they compare this inner life to a pregnant mother, a sexual couple, and more. I emphasize the political implications of the kinds of bodies employed in these metaphors, setting this against the background of late twentieth century feminism. I read my primary texts alongside the work of Julia Kristeva, Hélène Cixous, Luce Irigary, and others, in order to chart the parallel projects of literature and theory in articulating the relationship between the body—especially, the female body—and our understandings of subjectivity and representation. Starting with the 1980s, when the second wave feminist movement suffered conservative backlash, and continuing through the development of the third wave, I examine literary theorizations of feminist concerns during a period of transition in the feminist movement itself.
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Säg att du är min syster : En narrativ analys med feministisk kritik av berättelserna i Genesis 12, 20 och 26 och av den utsatta kvinnan som motiv.Rigby-Smith, Martin January 2013 (has links)
No description available.
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Sarah Grimke's rhetoric for empowerment : her life and lettersHamilton, Susan E. Maier 01 May 1992 (has links)
In twentieth century America, women continue the age-old struggle for recognition
as whole, intelligent individuals, not just an "other," less hearty, less deserving
or less capable being than man. Sarah Grimke spoke of the inequalities over 150 years
ago during the abolitionist movement when she compiled her major arguments into a
series of letters originally published individually in the New England Spectator, then
as a volume in 1838 entitled Letters on the Equality of the Sexes and the Condition of
Woman. Grimke gets to the core of the matter and dares to challenge long-standing
patriarchal tradition and beliefs.
Feminists have since tried to categorize her ideas into a particular philosophy,
giving her credit as the first American feminist. However, the difficulty lies in labeling
her from a twentieth century perspective (feminism) when her intent was to be
heard as an individualshe wanted to break the barriers which categorizing creates.
The strength of the Letters lies in their rhetorical soundness as an art which speaks
profoundly to its audience, transcending the boundaries of time.
This study focuses on the rhetorical soundness of the Letters, providing a close
analysis, that reveals Sarah Grimke's rhetorical methods, and her reaffirmation of
classical notions of rhetoric. The study also contextualizes the letters while answering
the critical question: Why should we read the letters now, in the twentieth century
when slavery is an issue long since resolved and women have been given the right to
vote and have been assured of equal rights under the equal rights amendment? We
must read primary texts, not secondary or interpretive texts, to experience the
author's rhetoric and recapture her intentions. / Graduation date: 1992
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Tropes and Topoi of Anti-Intellectualism in the Discourse of the Christian RightCarney, Zoe L. 2010 May 1900 (has links)
Christianity is
not
anti-intellectual;
however,
there
is
a
distinct
quality
of
anti-intellectualism
in
the
rhetoric
of
the
Christian
Right.
This
thesis
explores
the
ways
in
which
rhetors
in
the
Christian
Right
encourage
anti-intellectual
sentiment
without
explicitly
claiming
to
be
against
intellectualism.
I
argue
that
the
Christian
Right
makes
these
anti-intellectual
arguments
by
invoking
the
tropes
and
topoi
of
populism,
anti-evolution,
and
common
sense.
I
analyze
how
Pat
Robertson,
as
a
representative
of
the
Christian
Right,
used
the
stock
argument,
or
topos,
of
populism
in
his
1986
speech,
in
which
he
announced
his
intention
to
run
for
President.
I
argue
that
while
Robertson
used
the
generic
argumentative
framework
of
populism,
which
is
"anti-elitist,"
he
shifted
the
meaning
of
the
word
"elitist"
from
a
wealthy
person
to
an
intellectual
person.
This
formed
a
trope,
or
turn
in
argument.
Next,
I
consider
the
Christian
Right's
argument
against
the
teaching
of
evolution.
I
analyze
William
J.
Bryan's
argument
in
the
Scopes
Trial,
a
defining
moment
in
the
creation-evolution
debate.
I
show
that
Bryan
used
the
topos
of
creationism,
which
included
the
loci
of
quality
and
order,
to
condemn
the
teaching
of
evolution,
arguing
that
it
would
be
better
to
not
have
education
at
all
than
for
students
to
be
taught
something
that
contradicts
the
Bible.
Finally,
I
consider
how
both
Ronald
Reagan
and
Sarah
Palin
used
the
topos
of
common
sense.
Reagan
used
this
topos
to
create
a
metaphorical
narrative
that
was
to
be
accepted
as
reality,
or
common
sense.
Sarah
Palin,
then,
used
the
common
sense
narrative
that
Reagan
had
created
to
support
her
views.
By
calling
her
ideas
"common
sense"
and
frequently
referencing
Reagan,
her
rhetoric
gives
the
illusion
that
good
governing
is
simple,
thus
removing
the
space
for
an
intellectual
in
public
life.
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Beauty and the body in the fiction of Charlotte Brontë, Lewis Carroll, and Sarah Grand /Kandl, Cecile E. January 2001 (has links)
Thesis (Ph. D.)--Lehigh University, 2001. / Includes vita. Includes bibliographical references (leaves 225-235).
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Profiles of the black venus : tracing the black female body in Western art and culture - from Baartman to Campbell /Provost, Terry M. T. January 1900 (has links) (PDF)
Thesis (Ph. D.)--Concordia University, 2001. / Includes bibliographical references (p. 138-151). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66691.pdf.
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"To build, and plant, and keep a table" class, gender, and the ideology of improvement in eighteenth-century women's literature /Dalporto, Jeannie C. January 2001 (has links)
Thesis (Ph. D.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains iv, 341 p. Includes abstract. Includes bibliographical references (p. 317-341).
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A revolutionary idea : Gilbert Stuart paints Sarah Morton as the first woman of ideas in American artShoultz, Amy Elizabeth 04 May 2015 (has links)
In 1800, Gilbert Stuart began three paintings of his friend, republican writer, Sarah Wentworth Apthorp Morton--the Worcester, Winterthur, and Boston portraits. While Morton has been remembered more for a tragic personal family scandal than for her literary endeavors, Stuart's provocative images acknowledged her as both a poet and an intellect. His portraits presented a progressive and potentially controversial interpretation of his sitter--the lovely and learned Morton--by prioritizing the writer's life of the mind rather than her socially prescribed life in the world. This study reconstructs the circumstances by which Stuart composed the group of Morton paintings that culminate in his unorthodox Worcester rendering through which he ultimately depicted Morton as the first woman of ideas in American art. Supported by close readings of her work, this dissertation illuminates both the course and depth of the exceptional personal and professional relationship between Morton and Stuart. The paths of the two republican figures crossed at several historic junctures and is highlighted by the interconnectivity of their work. Most significantly, the Stuart portraits represent an ideal lens through which to view Morton's life and work as well as to follow the Boston native's transformation into one of America's earliest women of ideas. / text
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FAILURE AND REGENERATION IN THE NEW ENGLAND OF SARAH ORNE JEWETT AND MARY E. WILKINS FREEMANAnderson, Donald Robert, 1944- January 1974 (has links)
No description available.
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