Academic literature on the topic 'Ellen Olenska'

The Age of Innocence (1920), de Edith Wharton, volta-se com ironia ao estranhamento entre o mundo anglo-saxônico e a França durante o século XIX. Para tanto, o romance se concentra na alta-sociedade nova-iorquina durante a Gilded Age (circa 1870- 1900). Nessa história de um amor frustrado entre o rico e refinado Newland Archer e a americana Ellen Olenska, de volta aos Estados Unidos após abandonar seu marido na Europa, oferece-se um contraste entre a vitalidade artístico-literária do continente europeu, sobretudo de Paris, e a morosidade da vida intelectual na América de então. Igualmente, exploram-se os modos distintos de sociabilidade entre americanos e europeus, principalmente no que toca à convivência entre os sexos. Essas observações, além de comporem o pano de fundo da história, pesam no próprio desenrolar das relações entre os dois protagonistas e na maneira como ambos se encontram e se perdem.PALAVRAS-CHAVE: Edith Wharton; The Age of Innocence; Cultura francesa.

Abstract “Untimely Love” reassesses the aesthetic choices and political implications of Edith Wharton's The Age of Innocence (1920), first by highlighting a surprising overlap between Wharton and the anarcho-feminist Emma Goldman. Wharton's novelistic critique of New York society's marriage rituals, spurred by an unconsummated affair between Newland Archer and his wife's cousin Ellen Olenska, follows Goldman in positing an antagonism between the hierarchies of marriage and the equalizing nature of love. For Wharton, however, this antagonism will not be resolved with free love one day triumphing. To explain her position, the article turns to Jacques Rancière's unresolvable antagonism between “politics” and “the police,” which has an aesthetic analogue in the clash between the formally anarchic modern novel and premodern hierarchies of genre. Wharton unearths 1870s New York like an archeologist to expose how its patriarchal logic polices women's sexuality within and outside marriage, making expressions of love quite rare. Wharton unleashes the disruptive power of love through formal experimentation, temporarily subverting her own historical realism, when she has Ellen and Archer visit the Metropolitan Museum of Art in Central Park, which did not yet exist in the novel's timeframe. The Met's impossible location and its uncataloged holdings open to public viewing upset New York's social and aesthetic hierarchies. It is in this anachronistic and democratic context that Archer first sees “love visible” in the world, rearranging his entire worldview. Wharton, in a related political gesture of aesthetic dissensus, aligns her untimely lovers with the museum's suddenly visible ghosts of history.

Abstract Pediatric high-grade glioma (pHGG) is a highly malignant and poorly understood cancer driven by diverse genetic and epigenetic mechanisms. Here, we use comparative RNA sequencing, outlier analysis, and spectral clustering approaches to analyze transcriptomic data of 1,543 pediatric brain tumor specimens from the UCSC Treehouse Childhood Cancer Initiative (Treehouse) and Open Pediatric Brain Tumor Atlas (OpenPBTA) to identify subpopulations of pHGG patients with characteristic gene expression profiles. We find that approximately half (45%) of pHGG tumors from OpenPBTA exist in three subgroups defined by high outlier-level expression either of: mitochondrially-encoded 12S and 16S rRNAs; genes enriched in the HSF1-mediated heat shock response and activation pathways; or six C/D box snoRNA (SNORD) genes originating from the paternally-expressed SNORD116 locus involved in Prader-Willi syndrome, a complex neurodevelopmental disorder. Interestingly, the same set of HSF1-dependent pathway genes is also significantly upregulated in a subset (~11%) of pHGG tumors from Treehouse, validating this finding in two independent compendia with different transcript isolation strategies (Treehouse, polyA selection; OpenPBTA, ribodepletion). Our work identifies distinct classes of tumors with outlier-level expression of genes with previously unknown roles in pHGG and provides a framework for subtyping tumors by comparative transcriptomics that is adaptable to any cancer type. We are currently investigating the molecular roles of HSF1-response genes and the imprinted SNORD116 gene cluster in pHGG. Our ongoing research into the biomolecular signatures and mechanisms of the three major tumor classes of pHGG as defined in our study will contribute to a greater understanding of pHGG disease manifestation and progression, and will inform strategies of tailored therapeutic interventions for children with this devastating disease. Citation Format: Gina D. Mawla, A. Geoffrey Lyle, Ellen T. Kephart, Katrina Learned, Holly C. Beale, Joshua E. Goldford, Olena M. Vaske. Subtype classification of pediatric high-grade glioma tumors by comparative transcriptomics [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr LB059.

Pulitzer ödüllü romanı Masumiyet Çağı (1920/1999) başlıklı eserinde Amerikalı romancı Edith Wharton toplumsal norm ve kuralların, eski New York'taki bireylerin yaşamlarını nasıl yönettiğini, sınırlar çizdiğini ve onları bu sınırlar içinde yaşamaya zorladığını anlatır. Bu sosyal ortamda, romanın kahramanı, sanat meraklısı bekar Newland Archer, seçkin bir toplumun üyesi olan güzel May Welland ile nişanlı, zeki ancak geleneksel bir genç adam olarak sunulur. Bu toplumun eski bir üyesi olan Ellen Olenska, yabancı kocasından ayrıldıktan sonra New York'a döndüğünde, ailesi itibarını arkasından dönen dedikodulardan korumak için etrafında toplanır. Ancak alışılmadık, yabancı yaşam tarzı ve Archer ile sözde romantik ilişkisi, toplumdaki yeni kazandığı yerini daha da tehlikeye atar. En sonunda, Ellen Olenska, New York toplumunda tatmin edici bir yaşam sürmesini imkansız kılan geleneksel tabuları açıkça kabul ettiğinde kendisini baskıcı üst sınıfın sosyal çevresinden kurtarmak için Archer ve New York’u tamamen terk etmeyi seçer. Bu makalenin amacı, Ellen Olenska'nın toplumdan dışlanmış bir birey muamelesi görmesinin ve sessizce Eski New York toplumundan sürgün edilmesinin nedenlerini araştırmaktır. Bunu yaparak, bu çalışma, Amerika’daki kadınların geleceğini gösteren, Ellen için gerçek kurtuluşun tek yolunun ataerkil toplumdan sürgün edilmesi olduğu sonucuna varmaktadır.

Edith Wharton’s The Age of Innocence is a tale of transatlantic exclusion and differentiation depicting the Europeanized American Countess Ellen Olenska’s return to the capitalist and insular society of Old New York. This article examines the fundamental irony of what is a broadly cosmopolitan novel, permeated by differing degrees of hierarchy, racial and ethnic labelling, and immigrant activity. In this novel, Wharton shows how continental expatriation, which is the legacy of being American, is written out of the national narrative. Ellen’s status as the compromised and exoticized cultural ‘other’ becomes demonised as a corruptive force by the American elite, who fear that evidence of American cultural adaptability and cosmopolitan acculturation disproves the founding myths pertaining to exceptionalist notions of the New World’s racial distinction. By tracing the tribal savagery that the upper echelons of New York society display in response to Newland Archer’s and Ellen’s flirtation, this article demonstrates the inaccuracy of enforced hemispheric binarization. I argue that Ellen’s forceful and brutal eradication from New York society, although intended to reinstate the near compromised dignity of American ideals and future bloodlines, instead derives from self-conscious misjudgement concerning national insularity.

This introductory chapter explores Wharton’s cosmopolitan engagements, beginning with a reading of The Age of Innocence. Distinguishing between the immersive cosmopolitanism of Ellen Olenska and the liberal, yet dilettantish cosmopolitanism of Newland Archer, the chapter argues that Wharton would balance disparate cosmopolitanisms throughout her career. Positioning Wharton’s career in relation to cosmopolitan theory, in particular the work of Kwame Anthony Appiah and Bruce Robbins, the chapter argues that viewing Wharton’s global and transnational engagements offers new insights into her work. In addition, it argues for reading Wharton’s work more actively across genre, demonstrating how critics have made a false division between Wharton’s fiction, political writings, and non-fiction prose.