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Journal articles on the topic 'Dorothea Brooke'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

DEERY, PATRICIA. "MARGARET FULLER AND DOROTHEA BROOKE." Review of English Studies XXXVI, no. 143 (1985): 379–85. http://dx.doi.org/10.1093/res/xxxvi.143.379.

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2

Fraser, Hilary. "St. Theresa, St. Dorothea, and Miss Brooke in Middlemarch." Nineteenth-Century Fiction 40, no. 4 (1986): 400–411. http://dx.doi.org/10.2307/3044729.

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3

Seeber, Hans Ulrich, and Sabine Poeschel. "Dorothea Brooke und Erotische Kunst in George Eliots Middlemarch." Poetica 32, no. 3-4 (2000): 443–73. http://dx.doi.org/10.30965/25890530-032-03-04-90000007.

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4

Seeber, Hans Ulrich, and Sabine Poeschel. "Dorothea Brooke und Erotische Kunst in George Eliots Middlemarch." Poetica 32, no. 3-4 (2000): 443–73. http://dx.doi.org/10.30965/25890530-0320304008.

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5

Fraser, Hilary. "St. Theresa, St. Dorothea, and Miss Brooke in Middlemarch." Nineteenth-Century Fiction 40, no. 4 (1986): 400–411. http://dx.doi.org/10.1525/ncl.1986.40.4.99p0509b.

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6

Booth, Alison. "Little Dorrit and Dorothea Brooke: Interpreting the Heroines of History." Nineteenth-Century Literature 41, no. 2 (1986): 190–216. http://dx.doi.org/10.2307/3045138.

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7

Booth, Alison. "Little Dorrit and Dorothea Brooke: Interpreting the Heroines of History." Nineteenth-Century Literature 41, no. 2 (1986): 190–216. http://dx.doi.org/10.1525/ncl.1986.41.2.99p00214.

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8

Farina, Jonathan. "Middlemarch and “that Sort of Thing”." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029903ar.

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Abstract Mr. Brooke fails to become an elected political representative, but he nevertheless functions as a representative of Middlemarch society’s dominant mode of abstraction. Brooke’s comic idiom of “that sort of thing,” “that kind of thing,” and other variations of the word “thing” may be taken as a paradigm for George Eliot’s style throughout Middlemarch. Brooke parodies how characters and the narrator employ a grammar of things to articulate their relationships both to what they value in the material world and to their own interiority. I ascribe this grammar of things to what I call an “
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9

Newton. "Reflections on Whether the Marriage between Dorothea Brooke and Casaubon Was Consummated." George Eliot - George Henry Lewes Studies 68, no. 2 (2016): 83. http://dx.doi.org/10.5325/georelioghlstud.68.2.0083.

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10

Dobbins, Meg. "JANE EYRE'S PURSE: WOMEN'S QUEER ECONOMIC DESIRE IN THE VICTORIAN NOVEL." Victorian Literature and Culture 44, no. 4 (2016): 741–59. http://dx.doi.org/10.1017/s1060150316000206.

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“Young ladies don't understandpolitical economy, you know,” asserts the casually misogynistic uncle of Dorothea Brooke in George Eliot'sMiddlemarch(1871) (17; bk. 1, ch 1). Although Eliot's heroine resents both her uncle's remark and “that never-explained science which was thrust as an extinguisher over all her lights,” her attempt to teach herself political economy in the novel only seems to confirm her uncle's assessment (18; bk. 1, ch. 1): Dorothea gathers a “little heap of books on political economy” and sets forth to learn “the best way of spending money so as not to injure one's neighbor
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11

Hensley, Nathan K. "Any Material Way." Victorian Literature and Culture 47, no. 3 (2019): 663–70. http://dx.doi.org/10.1017/s1060150319000317.

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It is an honor to have the chance to discuss publicly Elaine Freedgood's work and its effects—“incalculably diffusive,” as they say in Middlemarch—in the world. George Eliot is an idealist and Elaine a materialist, which means that tracing Elaine's work and its work in the world, unlike that of the more pious and boring Dorothea Brooke, is possible. You can touch it. To do this labor of tracing will require thinking about Elaine's commitment to the category of the material, against the ideal and the idealized; it will also require thinking about the place that the conceptual or theoretical, bu
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12

Vallone, Lynne. "FERTILITY, CHILDHOOD, AND DEATH IN THE VICTORIAN FAMILY." Victorian Literature and Culture 28, no. 1 (2000): 217–26. http://dx.doi.org/10.1017/s1060150300281138.

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GEORGE ELIOT’S MIDDLEMARCH concludes with the summing up of the lives of her most visionary characters, bringing them to either happy fulfillment or early demise according, not to the worth of their dreams but, in part, to their success or failure in choosing a domestic partner. For Dorothea Brooke, Middlemarch’s most luminous and large-souled citizen, Eliot can finally justify no other existence than that of a devoted wife and mother. Eliot defends this apparent demotion of her heroine from modern Saint Theresa to London matron by arguing that her “study of provincial life” was of necessity t
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13

Keen, Suzanne. "QUAKER DRESS, SEXUALITY, AND THE DOMESTICATION OF REFORM IN THE VICTORIAN NOVEL." Victorian Literature and Culture 30, no. 1 (2002): 211–36. http://dx.doi.org/10.1017/s1060150302301104.

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WHY ARE JANE EYRE AND DOROTHEA BROOKE clad by their creators in “Quakerish” garb? The oppositional plainness and simplicity of Quakerish heroines have often been read as signs of classlessness and sexlessness.1 Plain and simple clothing seems, to both Victorian and contemporary eyes, part of the package of reticence, reserve, and repression associated with the evangelical wing of nineteenth-century dissenting sects.2 The typical sociological view of the function of dress within conservative religious groups holds that “strict dress codes are enforced because dress is considered symbolic of rel
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14

Knoepflmacher, U. C. "A Victorianist Looks Back: Fluidity vs. Fragmentation." Victorian Literature and Culture 47, no. 1 (2018): 137–53. http://dx.doi.org/10.1017/s1060150318001407.

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InMiddlemarch,when Mr. Brooke asks Edward Casaubon how he arranges his documents, the pedantic would-be author of “The Key to All Mythologies” replies with a “startled air of effort” that he puts them into “pigeon-holes mostly.” Dorothea's uncle is baffled. He complains that his own scattered gatherings became much too “mixed in pigeon-holes: I never know whether a paper is in A or Z.” Embarrassed, his niece volunteers to sort out his papers: “I would letter them all, and then make a list of subjects under each letter.” Her offer catches Mr. Casaubon's attention. Commending Mr. Brooke for havi
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15

STREET, RICHARD STEVEN. "Lange's Antecedents: The Emergence of Social Documentary Photography of California's Farmworkers." Pacific Historical Review 75, no. 3 (2006): 385–428. http://dx.doi.org/10.1525/phr.2006.75.3.385.

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Photographers focusing on California farmworkers are often described as heirs to a tradition that emerged midway through the Great Depression, mainly from the heroic efforts of one iconic photographer, Dorothea Lange. By calling attention to a diverse group of underappreciated antecedents who have never been linked together, this article presents a more sequential, less tidy account of how social documentary photography focused on farmworkers in the Golden State in the years before Lange moved out of her studio into the countryside. Without ever referring to their work as social documentary ph
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16

Friedman, Ellen G. ""Utterly Other Discourse": The Anticanon of Experimental Women Writers from Dorothy Richardson to Christine Brooke-Rose." MFS Modern Fiction Studies 34, no. 3 (1988): 353–70. http://dx.doi.org/10.1353/mfs.0.0601.

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17

Chaneb, Brandy. "Stephanie L. Brooke and Dorothy A. Miraglia (Eds.): Using the Creative Therapies to Cope with Grief and Loss." Journal of Child and Family Studies 25, no. 7 (2016): 2353–55. http://dx.doi.org/10.1007/s10826-016-0379-8.

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18

Taylor, Mark. "Interior Design:." IDEA JOURNAL, July 18, 2010, 138–40. http://dx.doi.org/10.37113/ideaj.v0i0.134.

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This book is another contribution to the growing influence of interior design/interior architecture within ‘architectural’ education and practice. It also contributes to the number of ‘introductory’ publications including Dorothy Stepat-DeVan, Introduction to Interior Design (1980), Stanley Abercrombie, A Philosophy of Interior Design, (1990) and the Basics Interior Architecture series by Graeme Brooker and Sally Stone. Others in this field include Dianna Rowntree, Interior Design (1964), Stanley Abercrombie, a philosophy of Interior Design (1990) and Graeme Brooker and sally stone, what is in
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19

"sBiography and Autobiography Always, Rachel: The Letters of Rachel Carson and Dorothy Freeman, 1952-1964, Martha Freeman, Editor. Introduction by Paul Brooks. 1995. Beacon Press, Boston, MA. ISBN: 0-8070-7010-6. $35.00." Bulletin of Science, Technology & Society 16, no. 3 (1996): 153. http://dx.doi.org/10.1177/027046769601600332.

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20

Lindop, Samantha Jane. "The Homme Fatal and the Subversion of Suspicion in Mr Brooks and The Killer Inside Me." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.379.

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The femme fatale of film noir has come to be regarded as an expression or symptom of male paranoia about the shifting dynamics of gendered power relations in patriarchal Western culture. This theoretical perspective is influenced by Freudian psychoanalytic theory, which, according to philosopher Paul Ricoeur, is grounded in the “School of Suspicion” because it sees consciousness as false, an illusion shrouding darker, disturbing truths (Ricoeur 33). However, while the femme fatale has become firmly established as a subject of suspicion, her male incarnation, the homme fatal, has generally been
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21

Iordăchescu, Grigore-Dan. "BOOK REVIEW Martyn Hammersley and Andy Hargreaves (Eds.). Curriculum Practice: Some sociological case studies (3rd edition). London and New York: Taylor and Francis, 2012. Pp. 1-280. ISBN: 978-0-415-61517-4 (Print) ISBN: 978-0-203-81617-2 (e-ISBN)." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 12, no. 3 (2019). http://dx.doi.org/10.29302/jolie.2019.12.3.12.

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The book titled Curriculum Practice: Some sociological case studies brings together various contributions that pertain to all three layers of curriculum: the macro-level, i.e. the level of curriculum and society, the micro-level, i.e. the classroom universe and the meso-level of organizational processes. The volume is organised into three main sections, School Subjects, Gender and the Curriculum, and Examinations, Accountability and Assessment. The first unit of the book, School Subjects, focuses on either the historical development or the forms that subjects take in the classroom. The papers
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22

Lerner, Miriam Nathan. "Narrative Function of Deafness and Deaf Characters in Film." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.260.

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Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its la
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23

Das, Devaleena. "What’s in a Term: Can Feminism Look beyond the Global North/Global South Geopolitical Paradigm?" M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1283.

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Introduction The genealogy of Feminist Standpoint Theory in the 1970s prioritised “locationality”, particularly the recognition of social and historical locations as valuable contribution to knowledge production. Pioneering figures such as Sandra Harding, Dorothy Smith, Patricia Hill Collins, Alison Jaggar, and Donna Haraway have argued that the oppressed must have some means (such as language, cultural practices) to enter the world of the oppressor in order to access some understanding of how the world works from the privileged perspective. In the essay “Meeting at the Edge of Fear: Theory on
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24

Brien, Donna Lee, and Adele Wessell. "Cookbook: A New Scholarly View." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.688.

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Our interest in this subject reflects the popular interest in all food-related media, which appears higher than ever. In terms of our own special interest in relation to this issue of MC Journal—cookbooks—they continue to be produced and purchased at an unprecedented rate. Cookbooks have also recently attracted considerable scholarly attention. Their significance has been assessed in literary terms, as well as for what they say about women’s lives, the self, society, a particular historic period, national culture, and food making knowledge. The study of cookbooks has illuminated broad societal
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25

"Reading & Writing." Language Teaching 38, no. 4 (2005): 216–29. http://dx.doi.org/10.1017/s0261444805253144.

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05–486Balnaves, Edmund (U of Sydney, Australia; ejb@it.usyd.edu.au), Systematic approaches to long term digital collection management. Literary and Linguistic Computing (Oxford, UK) 20.4 (2005), 399–413.05–487Barwell, Graham (U of Wollongong, Australia; gbarwell@uow.edu.au), Original, authentic, copy: conceptual issues in digital texts. Literary and Linguistic Computing (Oxford, UK) 20.4 (2005), 415–424.05–488Beech, John R. & Kate A. Mayall (U of Leicester, UK; JRB@Leicester.ac.uk), The word shape hypothesis re-examined: evidence for an external feature advantage in visual word recognition
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26

Franks, Rachel. "Cooking in the Books: Cookbooks and Cookery in Popular Fiction." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.614.

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Introduction Food has always been an essential component of daily life. Today, thinking about food is a much more complicated pursuit than planning the next meal, with food studies scholars devoting their efforts to researching “anything pertaining to food and eating, from how food is grown to when and how it is eaten, to who eats it and with whom, and the nutritional quality” (Duran and MacDonald 234). This is in addition to the work undertaken by an increasingly wide variety of popular culture researchers who explore all aspects of food (Risson and Brien 3): including food advertising, food
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27

Gregson, Kimberly. "Bad Avatar!" M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2708.

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 While exploring the virtual world Second Life one day, I received a group message across the in-world communication system – “there’s a griefer on the beach. Stay away from the beach till we catch him.” There was no need to explain; everyone receiving the message knew what a griefer was and had a general idea of the kinds of things that could be happening. We’d all seen griefers at work before – someone monopolising the chat channel so no one else can communicate, people being “caged” at random, or even weapons fire causing so much “overhead” that all activity in the area
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28

Bourdaa, Mélanie. "From One Medium to the Next: How Comic Books Create Richer Storylines." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1355.

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Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engag
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