Relevant bibliographies by topics / Dorothy Miller

Academic literature on the topic 'Dorothy Miller'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Dorothy Miller"

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Buchanan, Averill. "Dorothy Miller Richardson: A Bibliography 1900 to 1999." Journal of Modern Literature 24, no. 1 (2000): 135–60. http://dx.doi.org/10.1353/jml.2000.0021.

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Goldberg, Gertrude Schaffner. "Women and Social Welfare: A Feminist Analysis. Dorothy C. Miller." Social Service Review 66, no. 1 (March 1992): 162–67. http://dx.doi.org/10.1086/603903.

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Bøggild, Jacob. "Fiktion som restriktion? Eller som indirekte meddelelse?: En diskussion med Dorothy Hale om en etisk vending i nyere litteraturteori." K&K - Kultur og Klasse 36, no. 106 (March 22, 2009): 34–55. http://dx.doi.org/10.7146/kok.v36i106.22023.

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Fiction as Restriction? Or as Indirect Communication? A Discussion with Dorothy Hale about an Ethical Turn in Recent Literary Theory:This article is a discussion with a recent article by Dorothy Hale: »Fiction as Restriction: Self-Binding in New Ethical Theories of the Novel«. Here, Hale claims that different new ethicists among contemporary literary scholars all end up sounding very much like the Wayne Booth of The Rhetoric of Fiction. In this connection, she points out that the reader’s willing surrender to the fictitious universe of a novel and making room for the characters he or she encounters there – the »self-binding« of her title – is a common ideal of these new ethicists, since it is an exercise in appreciating and making room for otherness as such. The argument of this article, however, is that three of the ethicists Hale discusses, Lynne Huffer, Judith Butler and J. Hillis Miller, do in fact not sound that much like Booth, since Booth does not acknowledge the problems of difference, irony and translation that they, in different ways, address. Instead, it is argued that Kierkegaard’s idea and practice of »indirect communication« seems to be a more convincing, even if somewhat subterranean, common denominator for these critics. Henry James and Walter Benjamin, too, are invited to take part in the discussion.
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Drake, Christine. "Citation for Dorothy Drummond 2010 Recipient of the George J. Miller Award for Distinguished Service." Journal of Geography 110, no. 1 (January 28, 2011): 3–5. http://dx.doi.org/10.1080/00221341.2011.536674.

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Murphy, Brenda. "Essays on Modern American Drama: Williams, Miller, Albee, and Shepard, ed. by Dorothy Parker, and: Arthur Miller by June Schlueter, James K. Flanagan." Comparative Drama 22, no. 3 (1988): 274–76. http://dx.doi.org/10.1353/cdr.1988.0020.

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Nika Wirawan, I. Gede. "The Syntax Analysis in Relative Clause Found in the Novel “The Wonderful Wizard of OZ”." e-Journal of Linguistics 17, no. 1 (December 2, 2022): 29. http://dx.doi.org/10.24843/e-jl.2023.v17.i01.p04.

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The paper analyses syntax analysis in relative clause found in the novel “The Wonderful Wizard of Oz”. “The Wonderful Wizard of Oz” is a literary work of kid story by Lyman Frank Baum and the illustration was made by W.W. Denslow. Dorothy lived with her Aunt Em, Uncle Henry and her dog, Toto. Theory of relative clauses that was proposed by Quirk (1985), Sneddon (1996) and was supported by other theories. The theory used to analyze the syntax structure was the theory proposed by Brown and Miller. The method that was used to get the data was qualitative, library research. The data were taken from the novel entitled “The Wonderful Wizard of Oz”. This research study aims to: (i) analyze the syntax structure in the relative clause found in the novel entitled “The Wonderful Wizard of Oz”, (ii) analyze the types of relative clauses in the relative clauses found in the novel entitled “The Wonderful Wizard of Oz”.
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Olshen, Barry N. "Essays on Modern American Drama: Williams, Miller, Albee, and Shepard ed. by Dorothy Parker (review)." Modern Drama 31, no. 1 (1988): 127–30. http://dx.doi.org/10.1353/mdr.1988.0004.

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Avalos, Lisa R. "Abortion in the Web of Relationship: Negotiating the Abortion Decision Through a Lens of Care." International Journal of Human Caring 7, no. 2 (March 2003): 48–55. http://dx.doi.org/10.20467/1091-5710.7.2.48.

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Does the public abortion debate in the United States bear any relation to women’s private discourse about their abortion experiences? In this work—a qualitative study of the abortion narratives of 20 women—I argue that the familiar pro-choice and pro-life frameworks that have dominated public abortion discourse do not begin to provide a suitable forum for the collective expression and understanding of women’s personal abortion stories. By focusing on the conflicting rights of the parties involved, these frameworks leave us poorly equipped to understand how women experience abortion as members of social networks where interdependence and connection are important. While the debate emphasizes conflicting rights, women articulate their experiences with abortion in ways that emphasize relationship, care, and connection to others. By drawing on the work of theorists such as Dorothy Smith, Jean Baker Miller, Carol Gilligan, and Georg Simmel, I illuminate the misappropriation of women’s abortion experience in the public debate, relating this phenomenon to the social-structural context in which it and other exclusions of subordinate groups occur.
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Pérez Valero, Luis. "El sonido de la voz femenina en las primeras producciones discográficas (1933-1940) de Xavier Cugat. Una multimodalidad de lo tropical." Contrapulso - Revista latinoamericana de estudios en música popular 3, no. 2 (August 5, 2021): 6–23. http://dx.doi.org/10.53689/cp.v3i2.104.

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El presente artículo analiza la elaboración de lo tropical desde la trayectoria vocal e histórica de la mujer en las primeras grabaciones de Xavier Cugat, entre los años 1933 y 1940. Partimos de la teoría de los discursos multimodales (Kress y Van Leeuwen, 2001) y de la musicología feminista (Citron 1994; McClary 1991; Ramos 2010 y 2013); y a nivel metodológico, se identifican estilos y cualidades de la voz desde la musicología de la producción musical (Frith y Zagorski-Thomas 2012; Juan de Dios Cuartas 2016). Se devela la presencia de cantantes como Carmen Castillo, Yolanda Norris, Dorothy Miller, Charito, Celia Branz, Dinah Shore, Chacha Aguilar, Alice Corner, Loretta Clemens y Lina Romay, quienes determinaron un imaginario de sonoridad vocal femenina. Como conclusión, planteamos que el sonido vocal de mujer y la apariencia física fue fundamental en la música tropical que grabó Cugat, quien pasó por un largo proceso de selección y depuración estilística hasta lograr un sonido adecuado para el estilo de música y la audiencia norteamericana entre los años treinta y cuarenta.
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Withorn, Ann. "Book Reviews : Women and Social Welfare: A Feminist Analysis. By Dorothy C. Miller. New York: Praeger, 1990,181 pp., $38.95 (hardbound." Affilia 6, no. 4 (December 1991): 113–14. http://dx.doi.org/10.1177/088610999100600408.

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Dissertations / Theses on the topic "Dorothy Miller"

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Joubert, Claire. "Lire le féminin : Dorothy Richardson, Katherine Mansfield, Jean Rhys /." Paris : Éd. Messene, 1997. http://catalogue.bnf.fr/ark:/12148/cb36187766k.

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Trajanoska, Ivana. "La Musique dans Pilgrimage de Dorothy Richardson." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30066/document.

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La musique dans Pilgrimage de Dorothy Richardson joue un rôle important. C'est avant tout un élément crucial dans la quête identitaire de la protagoniste, Miriam Henderson. Récit de la formation d'une artiste, Pilgrimage est aussi celui de la quête d'une identité religieuse, nationale et féminine de la protagoniste. La musique accompagne le récit et offre la possibilité à Miriam de (ré)évaluer sa relation aux différentes religions organisées, de redéfinir son anglicité et de construire une identité féminine authentique. La musique ouvre également la voie à la « joie indépendante », au « centre de son être » où se loge une identité préexistante sur laquelle repose l'identité authentique qu'elle cherche. Par ailleurs, la musique aide Richardson à rompre avec la tradition romanesque du dix-neuvième siècle et à exprimer sa défiance à l'égard du langage et sa capacité à représenter la « réalité ». En intégrant les principes musicaux à la construction du texte narratif, l'auteur met en valeur son désir d'utiliser la musique comme modèle du fonctionnement sémiotique du texte narratif, d'influer sur la façon dont celui-ci fait sens et le communique en réfractant la « réalité » sur un axe à la fois vertical et horizontal et présente ainsi sa conception du temps comme échappant à la division entre passé, présent et futur. En outre, Richardson a recours à la musique pour mieux représenter la conscience, le processus de réflexion et le monde intérieur de sa protagoniste. Enfin, l'accompagnement musical sollicite la coopération de la conscience créatrice du lecteur en s'assurant sa collaboration dans la construction de la « réalité » que le roman tente de représenter
Music plays an important role in Pilgrimage by Dorothy Richardson. On the one hand, music is a crucial element in the protagonist's search for identity. Reading Pilgrimage as a story of a quest and the formation of an artist shows that the quest of the protagonist Miriam Henderson is also that of a religious, national and feminine identity accompanied by music. Music provides the protagonist with the opportunity to (re)assess her relationship with various organized religions, redefine her Englishness, and build an authentic female identity. Music also reveals the “independent joy,” at “the center of being,” where a pre-existing identity can be found upon which the authentic identity that Miriam seeks rests. On the other hand, Richardson relies on music to break with the nineteenth-century writing conventions and express her distrust in the capacity of language to render “reality.” Her effort to integrate musical principles in the construction of the narrative emphasizes her desire to use music as a model for the semiotic functioning of the text, to influence how the text makes sense and communicates it refracting “reality” on an axis, both vertical and horizontal, thus presenting her concept of time which is outside the division into past, present and future. Furthermore, Richardson uses music to represent consciousness, the thinking process, and the inner world of the protagonist. Finally, the musical accompaniment generates the cooperation of the reader's creative consciousness securing his collaboration in the construction of the “reality” that the novel is trying to represent
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Fox, Stacey Jade. "The idea of madness in Dorothy Richardson, Leonora Carrington and Anais Nin." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0194.

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Joubert, Claire. "La lectrice dans le texte : écriture et lecture au féminin dans les oeuvres de Dorothy Richardson, Katherine Mansfield et Jean Rhys, 1919-1939." Paris 3, 1993. http://www.theses.fr/1994PA030015.

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Ce travail explore le domaine d'intersection entre le texte et la sexualite, en proposant d'etudier l'inscription d'une subjectivite feminine au sein des recits de dorothy richardson (pilgrimage), katherine mansfiels (the collected short stories), et jean rhys (the left bank, quartet, after leaving mr mackenzie, et good morning, midnight). Il s'appuie sur les theories lacaniennes de l'ordre langagier pour faire apparaitre dans ces ecritures feminines des modeles enonciatifs particuliers, fondes sur une pratique de la litterature comme espace de lecture. La figure de la lectrice dans le texte surgit dans ces textes comme le trope revelateur de la nature discursive de la feminite qui s'articule a la sexuation des proces de la signification. Dorothy richardson, katherine mansfield et jean rhys, en textualisant la femme, orientent d'ecriture vers un deficit semantique, et, de diverses manieres, presentent la lecture comme un discours (du) feminin
This study explores the field of intersection between text and sexuality, as it proposes to examine the inscription of a feminine subjectivity within the fictional writings of dorothy richardson (pilgrimage), katherine mansfield (the collected short stories), and jean rhys (the left bank, quartet, after leaving mr mackenzie, and good morning, midnight). This analysis of gender takes root in the lacanian theories of the symbolic order of language in order to identify particular enunciative patterns, based on the practice of literature as a reading activity. The figure of the female reader in the text appears in these texts as the narrative locus for the exposition of the discursive nature of feminity and of gender identity, bound up with the sexual implications of signifying processes. By writing feminity into their texts, dorothy richardson, katherine mansfield and jean rhys direct the writing activity toward a semantic loss, and, through diferrent narrative strategies, offer a vision of reading as a feminine form of discourse, as the discourse of the female gender
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"Journeys viewed, heard and read: literary impressionism, music and consonance in Dorothy Richardson's Pilgrimage." 2008. http://library.cuhk.edu.hk/record=b5893664.

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Wong, Yong Yi.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 143-151).
Abstracts in English and Chinese.
Abstract --- p.i
摘要 --- p.iii
Contents --- p.iv
Introduction --- p.1
Chapter Chapter 1 --- Colours and Letter; Painting and Writing: Literary Impressionism in Pilgrimage --- p.32
Chapter Chapter 2 --- Notes and Words; Listening and Reading: Music and Reading in Pilgrimage --- p.79
Chapter Chapter 3 --- Consonance --- p.113
Conclusion Arts in a Chord --- p.132
Work Cited --- p.143
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Gear, Nolan Thomas. "Spectatrices: Moviegoing and Women's Writing, 1925-1945." Thesis, 2021. https://doi.org/10.7916/d8-an6s-j049.

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How did cinema influence the many writers who also constituted the first generation of moviegoers? In Spectatrices, I argue that early moviegoing was a rich imaginative reservoir for anglophone writers on both sides of the Atlantic. Coming to cinema from the vantage of the audience, I suggest that women of the 1920s found in moviegoing a practice of experimentation, aesthetic inquiry, and social critique. My project is focused on women writers not only as a means of reclaiming the femininized passivity of the audience, but because moviegoing offered novel opportunities for women to gather publicly. It was, for this reason, a profoundly political endeavor in the first decades of the 20th century. At the movies, writers such as Jessie Redmon Fauset, Zora Neale Hurston, H.D., Dorothy Richardson, and Virginia Woolf developed concepts of temporary community, alternative desire, and discontinuous form that they then incorporated into their literary practice. Where most scholarship assessing cinema’s influence on literature is governed by the medium-specificity of film, my project emphasizes the public dimension of the movies, the fleeting and semi-anonymous intimacy of the moviegoing audience. In turning to moviegoing, Spectatrices opens new methods of comparison and cross-canonical reorganization, focusing on the weak social ties typified by moviegoing audiences, the libidinal permissiveness of fantasy and diva-worship, the worshipful rhetoric by which some writers transformed the theater into a church, and most significantly, the creation of new public formations for women across different axes of class, gender, and race. In this respect, cinema’s dubious universalism is both an invitation and a problem. Writers from vastly different regional, racial, linguistic, and class contexts were moviegoers, together and apart; but to say they had the same experience is obviously inaccurate. In this project, I draw from historical accounts of moviegoing practices in their specificity to highlight that whereas the mass-distributed moving image held the promise, even the premise, of shared experience, moviegoing was structured by difference. The transatlantic organization of the project is meant to engage and resist this would-be universality, charting cinema’s unprecedented global reach while describing differential scenes and modes of exhibition. Focusing on moviegoing not only permits but requires a new constellation of authors, one that includes English and American, Black and white, wealthy and working class writers alike. Across these axes of difference, women theorized the politics and possibilities of gathering, rethinking the audience as a vital and peculiar social formation.
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Skovajsa, Ondřej. "Psaný hlas: Whitmanovy Listy trávy (1855) a Millerův Obratník Raka." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342280.

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The PhD. dissertation Written Voice examines how Walt Whitman and Henry Miller through books, confined textual products of modernity, strive to awaken the reader to a more perceptive and courageous life, provided that the reader is willing to suspend hermeneutics of suspicion and approach Leaves of Grass and Tropic of Cancer with hermeneutics of hunger. This is examined from linguistic, anthropological and theological vantage point of oral theory (M. Jousse, M. Parry, A. Lord, W. Ong, E. Havelock, J. Assmann, D. Abram, C. Geertz, T. Pettitt, J. Nohrnberg, D. Sölle, etc.). This work thus compares Leaves (1855) and Tropic of Cancer examining their paratextual, stylistic features, their genesis, the phenomenology of their I's, their ethos and story across the compositions. By "voluntary" usage of means of oral mnemonics such as parallelism/bilateralism (Jousse) - along with present tense, imitatio Christi and pedagogical usage of obscenity - both authors in their compositions attack the textual modern discourse, the posteriority, nostalgia and confinement of literature, restore the body, and aim for futurality of biblical kinetics. It is the reader's task, then, to hermeneutically resurrect the dead printed words of the compositions into their own "flesh" and action. The third part of the thesis...
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Books on the topic "Dorothy Miller"

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Radford, Jean. Dorothy Richardson. New York: Harvester Wheatsheaf, 1991.

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Radford, Jean. Dorothy Richardson. Bloomington: Indiana University Press, 1991.

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Miller, Dorothy Canning. Dorothy C. Miller: With an eye to American art : checklist : Smith College Museum of Art, Northampton, Massachusetts, April 19-June 16, 1985. Northampton, Mass: The Museum, 1985.

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Smith College. Museum of Art, ed. Dorothy C. Miller: With an eye to American art : checklist [of the exhibition held at the] Smith College Museum of Art, Northampton, Massachusetts, April 19-June 16, 1985. Northampton: The Museum, 1985.

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Felber, Lynette. Gender and genre in novels without end: The British roman-fleuve. Gainesville, Fla: University Press of Florida, 1996.

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Meade, Marion. Bobbed hair and bathtub gin: Writers running wild in the Twenties. New York: Nan A. Talese/Doubleday, 2004.

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Meade, Marion. Bobbed Hair and Bathtub Gin. New York: Knopf Doubleday Publishing Group, 2009.

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1966-, Bernstein Sheri, Fort Ilene Susan, and Los Angeles County Museum of Art, eds. Made in California: Art, image, and identity, 1900-2000. Los Angeles: Los Angeles County Museum of Art, 2000.

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The Dorothy C. Miller collection. New York: Christie's, 2003.

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Watts, Carol. Dorothy Richardson. Hyperion Books, 1990.

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Book chapters on the topic "Dorothy Miller"

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Zwernemann, Jens. "Richardson, Dorothy Miller." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16928-1.

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Kilian, Eveline. "Richardson, Dorothy Miller." In Metzler Autorinnen Lexikon, 450–51. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_313.

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Zwernemann, Jens. "Richardson, Dorothy Miller: Pilgrimage." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16929-1.

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"DOROTHY J. CHRISMAN (CHRIS) MILLER." In Capitol Women, 166–68. University of Texas Press, 2000. http://dx.doi.org/10.7560/740624-030.

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Wordsworth, William. "W. W. to John Miller." In The Letters of William and Dorothy Wordsworth, Vol. 8: A Supplement of New Letters (Revised Edition), edited by Alan G. Hill. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00087523.

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Wordsworth, William. "180. W. W. to John Miller." In The Letters of William and Dorothy Wordsworth, Vol. 2: The Middle Years: Part I: 1806–1811 (Second Revised Edition), edited by Ernest De Selincourt and Mary Moorman, 384. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00087038.

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Wordsworth, William, and Dorothy Wordsworth. "658. W. W. to Joseph Kirkham Miller." In The Letters of William and Dorothy Wordsworth, Vol. 5: The Later Years: Part II: 1829–1834 (Second Revised Edition), 464–65. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00083824.

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Whitehead, Kevin. "Young Men with Horns: The Jazz Biopic’s Golden Age 1950–1959." In Play the Way You Feel, 97–142. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.003.0004.

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A 1950s fad for biographical films about jazz musicians is sparked by the box-office success of The Glenn Miller Story. Subsequent biopics depict the lives of Benny Goodman, W. C. Handy, Red Nichols, and Gene Krupa. Often, their subjects take on signature attributes of the actors who play them. Two fiction films focus on characters derived from existing sources: Young Man with a Horn, based on Dorothy Baker’s novel, and Pete Kelly’s Blues, based on Jack Webb’s radio series. The relationship between Benny Goodman’s memoir Kingdom of Swing and the script to The Benny Goodman Story is detailed. The life of W. C. Handy, as told in his autobiography, is compared to the movie version, 1958’s St. Louis Blues.
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Kennerley, David. "Dorothea Solly’s Musical World." In Sounding Feminine, 120–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.003.0005.

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This case study explores the musical and social world of Dorothea Solly, a keen amateur musician and singer. It builds on Chapter 2 by arguing that Solly’s middle-class background, combined with a Broad Church Anglican milieu and her marriage into a Unitarian family shaped her strongly affirmative approach to female voices, in ways that contrasted sharply with the attitudes on display in conduct literature. In particular, she exhibited great admiration for, and sought to acquire herself, the advanced vocal technique of leading stars of the Italian opera, such as her singing teacher, Cecilia Davies. In her advocacy of both female professional performers and composers, and in her own style of singing, Solly and her social milieu encapsulate an important, emerging section of the British musical public that was open both to the idea of female musical creativity and professionalism, and comfortable with an empowered, confident, assertive style of envoicing femininity.
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Slany, Katarzyna. "W krainie Kota Doroty Terakowskiej jako przykład herstorii uśpionej." In Imaginautka zaangażowana. Twórczość i biografia Doroty Terakowskiej z perspektywy XXI wieku, 234–55. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2021. http://dx.doi.org/10.24917/9788380847460.16.

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Dorota Terakowska’s In Cat`s Land [W krainie Kota] as an example of dormant herstory The article is devoted to the interpretation of Dorota Terakowska’s novel In Cat`s Land [W krainie Kota] (1998) from the perspective of feminisms and “herstories.” The author starts from the classic concepts of pluralism of feminisms, arachnology, and herstories in order to signal their presence in contemporary Polish youth prose. She undertakes theoretical reflection on Anna Burzyńska, Kazimiera Szczuka, Monika Świerkosz, Grażyna Borkowska, and Ewa Kraskowska, who develop the concept of arachnology by Nancy K. Miller and herstory by Adele Aldridge. In the text, Terakowska’s prose is a general reflection on the presence of herstory, with particular emphasis on the work In Cat`s Land as a phantasmatic herstory highlighting specific female experiences.
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