Academic literature on the topic 'Hannah and her sisters'

This article explores how feminist phenomenology can add conceptual richness to gender and leadership theorizing. Although some leadership scholars engage with phenomenological and existential inquiry, feminist phenomenology receives far less attention. By addressing this critical gap in the scholarship, this article illustrates how feminist phenomenology can enrich gender and leadership scholarship. Specifically, by engaging with the work of four women existential phenomenologists – Hannah Arendt, Simone de Beauvoir, Iris Marion Young, and Sara Ahmed – the rich diversity of phenomenological inquiry is explored. First, Arendt shows the benefits of conceptualizing leadership as collective action, rather than as concentrated in one person, or organization. Second, Beauvoir highlights how women’s situation, and potential, is affected negatively by gender hierarchy. Third, Young builds on Beauvoir’s work by exploring the ways in which female modality is limited by the social construction of gender. Finally, Ahmed takes phenomenology in a queer direction, showing how normative ways of thinking about sexuality are limiting to those who do not fit the dominant, familiar pattern. As well, the merits and limitations of feminist phenomenology are explored as they relate to gender and leadership theorizing, and suggestions for future research are made.

When I was growing up in Southern Connecticut, my mother referred occasionally to an ancestor of ours who had killed some Indians. In 1970, I went away to college and Mom came up to Massachusetts for Parents' Weekend. Just across the river from my campus in Bradford stood a statue in the center of Haverhill's town green. My mother pointed it out to me (my sister had gone to the same school, so Mom knew her way around the area). I'd been passing this tribute to our ancestor – supposedly the first statue of a woman ever erected in this country – every time I went to town to pick up subs or hang out with the townies. Not sure whether to be proud or ashamed, my mother and I stood and looked up at the bronze woman streaked with bird droppings. Her hatchet was raised, her hefty thigh slightly raised beneath her heavy skirts; we imagined we saw a family resemblance – the square jaw and round cheeks that are distinctive in our family. At the base of the statue, bas relief plaques narrated Hannah Emerson Dustin's story: taken by Abenaki Indians from her Haverhill home along with her week-old infant and her midwife, Mary Neff, Dustin watched as her infant was killed by the Indians. She was then marched up along the Merrimack River, through swamps and woods, to a small island where the Merrimack meets the Contoocook River, in present-day New Hampshire. Shortly after her arrival at the island, Dustin – with the aid of Mary Neff and perhaps that of an English boy, Samuel Lenardson, then living with the Indians – hatcheted to death the sleeping people, scalped them, then made her way back down the Merrimack in a canoe. As I looked at the statue, I wondered many things about Dustin.

ABSTRACTThe historian, Hannah Lawrance (1795–1875), played an important role in nineteenth-century public debate about women's education. Like Catharine Macaulay and Mary Wollstonecraft, she argued that virtue had no sex and she promoted the broad education of women in order to increase their opportunities for employment. But unlike her bluestocking predecessors, she derived her argument from a scholarly reappraisal of women's history. Whereas the Strickland sisters' Tory Romantic histories celebrated the Tudor and Stuart eras in particular, Lawrance's ‘olden time’ celebrated the medieval period. This is when she located England's civilizational progress, driven by the education of queens and the wider state of women's education, allowing her to evade the potential conflict of a feminine creature in a manly role. Using the condition of women to measure the peaks and troughs of civilization was a familiar approach to historical writing, but Lawrance's radical argument was that women were often responsible for England's progress, rather than passive bystanders. Her emphasis on women's contribution to public life complemented the Whig-nationalist narrative and secured her a high reputation across a range of political periodicals. Above all, it appealed to other liberal reformers such as Thomas Hood, Charles Wentworth Dilke, and Robert Vaughan, who shared Lawrance's commitment to social reform and helped to secure a wide audience for her historical perspective.

During the winter of scarcity of 1794, Hannah More wrote “a few moral stories,” drew up a plan for publication and distribution, and sent the package around to her evangelical and bluestocking friends. Their response was enthusiastic; even Horace Walpole abandoned his usual teasing to write back, “I will never more complain of your silence; for I am perfectly convinced that you have no idle, no unemployed moments. Your indefatigable benevolence is incessantly occupied in good works; and your head and your heart make the utmost use of the excellent qualities of both…. Thank you a thousand times for your most ingenious plan; may great success reward you!” Walpole then sent off copies of the plan to the duchess of Gloucester and other aristocratic friends. Following Wilberforce's example, such wealthy philanthropists subscribed over 1,000 pounds to support the project during its first year. Henry Thornton agreed to act as treasurer and Zachary Macaulay as agent, and the ball was rolling.In March 1795, the Cheap Repository of Moral and Religious Tracts issued its first publications. Prominent evangelicals and gentry worked to distribute them to the rural poor, booksellers, and hawkers and among Sunday schools and charity children. During the Repository's three-year existence, the fifty or so tracts written by Hannah More were supplemented by contributions from fellow evangelicals Thornton, Macaulay, John Venn, and John Newton, the poet William Mason, More's literary friend Mrs. Chapone, her protégée Selina Mills, and her sisters Sally and Patty More and by reprints of old favorites by Isaac Watts and Justice John Fielding.

The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). The article focuses on Ernestyna Śniadowiczówna, the main character in a novel by Zofia Nałkowska, Węże i róże [Snakes and Roses] (1913). The main purpose of the work is to show that the character had its real counterpart in Zofia’s younger sister, the sculptor Hanna Nałkowska. The words of Zofia herself were crucial, who in her Diary confessed that all her novels were autobiographical to some extent. Still, researchers have not paid sufficient attention to the significant similarities between Ernestyna and Hanna Nałkowska. Węże i róże is the only piece in the writer’s output in which she analyzed the issues related to art and pointed out some characteristics of the artist. Zofia was writing her novel when Hanna was entering the world of art. A comparison between Ernestyna Śniadowiczówna and Hanna Nałkowska, as well as the information from Zofia’s Dziennik and reminiscences of their friends show that the literary character is likely to be based on a real person.

✓ Vincent van Gogh's life, letters, and art are the framework for this existential speech about the nature of alienation, as well as its threat to humanity and to the artful practice of medicine. The honest, human voice expressed in van Gogh's art stands in opposition to alienation, which occurs when we divide the world into two parts: the “perfect” world of science versus the “flawed” world of human experience. Bridging this divide allows for an “authentic” life, one which honestly defines itself and faces difficult human truths. The most difficult truth relates to our own mortality, but it must be faced if we are to understand the value of existence. Film clips from Woody Allen's Hannah and Her Sisters illustrate how an artist's portrayal of these issues can be both profound and humorous, and how art brings us closer to our own humanity and to the essence of medicine. Neurosurgeons are warned about the lure of science and technology as a substitute for purpose and meaning, both as physicians and as human beings. The role of the American Association of Neurological Surgeons is explored and found to offer neurosurgeons a bridge away from alienation and toward a neurosurgical community. Neurosurgeons are urged to find meaning through service to their profession and to find the voice and art of medicine. [Note: Actual film clips were used when this address was delivered. Unofficial transcripts of the clips have been included in this article so that the integrity of the speech would not be compromised.]

This thesis examines Allen's development using Annie Hall (1977), Manhattan (1979), and Hannah and Her Sisters (1986) as landmarks. Three criteria (chapters) structure the analysis: comedy, narrative, and romance.

The purpose of the research of this thesis was to determine how and toward what goals Woody Allen shows the influence of dysfunctional parents and families on their adult children, sibling groups of those children, and those children's romantic choices in Interiors, Hannah and Her Sisters, and Alice. Methodology includes the ideas of noted psychological pioneers as well as the results of current scientific studies. Relationships in these films mirror findings which reveal that dysfunctional parents produce both well-adjusted and troubled children and that offspring are more likely than parents to overcome emotional challenges. It is useful to realize that sibling groups are often the strongest family relationships, in part, because they are typically the ones that last the longest.

The thesis is an exploratory qualitative analysis of conversations between two out of three leading characters in Woody Allen’s motion picture Hannah and Her Sisters (1986). Due to a perception of invisible power relations, it is hypothesized that what seems like a powerful position in discourse, in fact is an indication of the opposite, and that what seems like a powerless position, is an indication of power. Three features based on scholarship connected to Conversation Analysis (CA), Dyadic Power Theory (DPT) and power relations in verbal interaction are chosen to test the hypotheses: first and second positions in sequences as dicussed by Hutchby (1996), control attempts as elaborated by DPT, and mitigating strategies as argued for by Mullany (2004). Findings confirm the hypotheses, but also reveal ambiguities and contrasting results. Connecting the data to sources based on talk in the private sphere, in particular within family discourse, is mentioned as one way to further illuminate the subject in future research.

Magister Artium - MA
Rae and her sister, Alina, are young women who have travelled from Australia to visit their aunt, Trudy, in Ireland. Rae’s suspicions that something is amiss with the arrangement are confirmed when they discover that their parents have been arrested for settling in Australia without the appropriate visas. The two young women, who are half Irish, must remain in Ireland until their parents are able to join them. Rae enrols at a university to continue her studies, and Alina finds a job that requires her to move out. Rae is upset with Alina for leaving, and drops out of contact for a while, but then when she does reach out, her messages aren’t returned. Eventually she goes in search of her sister and finds that Alina has left Dublin without saying where she went. Months pass in fruitless searching. Rae settles down at Trinity College, makes friends, and also befriends Joe, a rough sleeper on the Dublin streets. When she discovers that her sister might be in Galway, Rae travels there, accompanied by two friends. Joe offers to aid them. While there, they encounter someone who claims to know Alina, but demands payment before revealing anything. Rae asks Joe – who is familiar with the backstreets – to deliver the cash. Joe is never seen again, and Rae, after some time, finally admits she has been betrayed. One of her two friends decides to explore the clubs and stumbles on Alina who is working there. When Rae approaches her sister, there is a confrontation with the possessive employer, Murphy, who strikes Alina, putting her in hospital. Alina returns to Dublin, and life resumes where it left off, but then Murphy attempts to take Alina back. Rae hurries home and finds Trudy blocking the door to the house with a shotgun which she fires at Murphy’s knee. The demonstration of protectiveness shows Rae how badly she misjudged her aunt. She then discovers that she misjudged Davin, whom she admired from the beginning but incorrectly assumed he was interested in her sister. The novella ends with a recognition of her flawed perceptions which stands in juxtaposition to her confident judgements of people in the opening chapter.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Germanic Languages and Literatures." Discipline: Germanic Languages; Department/School: Germanic Languages.

Thesis advisor: Rodrigo Chacon
Thesis advisor: Susan Shell
In this thesis, I will explore the natural tension that exists between philosophy and politics; theory and practice, and thought and action, especially as manifest in contemporary society. In order to investigate this tension, I will use a lens presented by Hannah Arendt and her writings, in particular the Human Condition and the Jewish Writings . I will use these works to illustrate Arendt's own conflict between the role of politics and philosophy in human affairs as experienced in her transition from a political journalist to a political theorist. I will argue that a comparison of these works shows Arendt's struggle with the tension between philosophy and politics; thought and action, and theory and practice. A comparison of these works also illustrates Arendt's paradoxical conclusion of the Human Condition: that in times of unprecedented crisis, although theory and philosophy are precisely what are necessary to prevent further destruction and tragedy, they unfortunately become superfluous, and then immediate (even if groundless) action becomes necessarily the only human capacity that can "save" the world
Thesis (MA) — Boston College, 2010
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Political Science

Ye Xian és la protagonista d'un relat escrit durant el període Tang que ha sigut definit com "La Ventafocs xinesa" i també com "la primera Ventafocs escrita". He realitzat una anàlisi del conte per demostrar que molts dels aspectes d'aquest, que han sigut associats a la cultura Tang, són de fet difícilment compatibles amb aquesta. A més, la història presenta una estructura narrativa trencada i certs elements difusos que mostren les dificultats en l'adaptació de motius estrangers.
 A fi de completar aquesta anàlisi he utilitzat tres perspectives metodològiques, els enfocaments Clasicista, Sinologista i Folclorista, d'acord amb tres classes de narrativa investigades, per estudiar aquesta història i el seu rol en el cicle de la Ventafocs.
 L'enfocament Clasicista analitza el treball d'escriptors que han investigat contes de fades i motius trobats a la literatura clàssica sense emmarcarla en un gènere literari.
 L'enfocament Sinologista, d'altra banda, pren aquest relat concret tenint en compte les circumstàncies específiques de la producció del text i el seu context, especialment la història literària xinesa i la llengua xinesa, així com el gènere, entès no únicament com el marc literari seguit per l'autor, sinó també d'acord amb les expectatives de la seva audiència.
 En darrer lloc l'enfocament Folclorista ens permet comparar aquest conte amb altres relats de la Ventafocs, tot i que el seu mètode tradicional, considerant totes les narratives com a contes populars, té el defecte de caure en una perspectiva eurocentrista i sovint massa simplista. 
Els elements que he pres per analitzar són els principals components dels relats de la Ventafocs, i al mateix temps representen el dramatis personae més important en el desenvolupament de la narrativa.
 El primer element analitzat són els protagonistes del relat xinès, Ye Xian, el fet que ella sigui una dona, així com el fet que la figura de la germanastra no es descrigui tan malvada com a les ulteriors versions de la Ventafocs.
 El segon element és l'antagonista, la madrastra: mentre les madrastres són comuns a la literatura xinesa, habitualment apareixen als relats amb característiques diferents, normalment presentant un protagonista masculí.
 El tercer element important són els ajudants. Ye Xian presenta un ajudant principal i altres dos breument esmentats; mentre el primer pot ser considerat l'adició d'un sistema cultural particular, les altres dues són relíquies de relats previs.
 El quart element és l'objecte màgic, que té un rol extremadament important en els relats; aquest objecte màgic específic, una sabata, té importants connotacions culturals i ha sigut interpretat com un senyal innegable de la presència de la cultura xinesa relacionada amb l'embenat dels peus, però aquesta investigació refuta aquestes concepcions.
 El cinquè element és la reunió social juntament amb la figura del rei; el futur marit de la protagonista no es descriu detalladament, mentre la importància de la reunió social, així com l'addició d'aquesta versió concreta del Cicle de la Ventafocs, s'examina amb detall.
 Totes les conclusions indiquen que aquest text és una combinació de narratives prèvies que contenen motius de la Ventafocs, convertint a Ye Xian en la primera versió que conté tots els elements presents en la Ventafocs moderna. Aquesta metodologia tripartita és, per tant, adaptada a aquest cas, mentre combina també enfocaments epistemològics per crear un paradigma funcional per investigacions futures en les quals els contes no puguin connectar-se fàcilment a un sistema literari precís i emmarcat en un gènere que representa una clau crucial per la interpretació.
Ye Xian es la protagonista de un relato escrito durante el periodo Tang que ha sido definido como “La Cenicienta China” y también como “la primera Cenicienta escrita”. He realizado un análisis del cuento para demostrar que muchos de los aspectos del mismo, que han sido asociados a la cultura Tang, son de hecho difícilmente compatibles con ella. Además la historia presenta una estructura narrativa rota y ciertos elementos difusos que revelan las dificultades en la adaptación de motivos extranjeros. A fin de completar este análisis he recurrido a tres perspectivas metodológicas, los enfoques Clasicista, Sinológista y Folclorista, en concordancia con las tres clases de narrativa investigadas, para estudiar esta historia y su rol en el ciclo de la Cenicienta. El enfoque Clasicista analiza el trabajo de escritores que han investigado cuentos de hadas y motivos hallados en la literatura clásica sin enmarcarla en un género literario. El enfoque Sinologista, por otra parte, toma este relato concreto teniendo en cuenta las circunstancias específicas de la producción del texto y su contexto, especialmente la historia literaria china y la lengua china, así como el género, entendido no solamente como el marco literario seguido por el autor, sino también en base a las expectativas de su audiencia. Por último, el enfoque Folclorista nos permite comparar este cuento con otros relatos de la Cenicienta, aunque su método tradicional, considerando todas las narrativas como cuentos populares tiene el defecto de una perspectiva eurocentrista y a menudo simplista. Los elementos que he tomado para analizar son los principales componentes de los relatos de Cenicienta, y al mismo tiempo representan el dramatis personae más importante en el desarrollo de la narrativa. El primer elemento analizado son los protagonistas del relato chino, Ye Xian, el hecho de que ella sea una mujer, así como el hecho de que la figura de la hermanastra no se describa tan malvada como en las ulteriores versiones de la Cenicienta. El segundo elemento es el antagonista, la madrastra: mientras las madrastras son comunes en la literatura China, usualmente aparecen en relatos con características diferentes, normalmente presentado un protagonista masculino. El tercer elemento importante son los ayudantes. Ye Xian presenta un ayudante principal y otros dos brevemente mencionados; mientras el primero puede ser considerado la adición de un sistema cultural particular, las otras dos son reliquias de relatos previos. El cuarto elemento es el objeto mágico, que tiene un rol extremadamente importante en los relatos; este objeto mágico específico, un zapato, tiene profundas connotaciones culturales y ha sido interpretado como la innegable señal de presencia de la cultura china, relacionada con el vendaje de los pies, pero esta investigación refuta esas concepciones. El quinto elemento es la reunión social junto con la figura del rey; el futuro marido de la protagonista no se describe detalladamente, mientras la importancia de la reunión social, así como la adición de esta versión concreta al Ciclo de la Cenicienta, se examina con detalle. Todas las conclusiones indican que este texto es una combinación de narrativas previas que contienen motivos de la Cenicienta, convirtiendo a Ye Xian en la primera versión que contiene todos los elementos presentes en la Cenicienta moderna. Esta metodología tripartita es, por lo tanto, adaptada a este caso, mientras combina también enfoques epistemológicos para crear un paradigma funcional para investigaciones futuras en las que los cuentos no puedan conectarse fácilmente a un sistema literario preciso y cuyo genero representa una clave crucial para la interpretación.
Ye Xian is the protagonist of a story written in the Tang period which has been defined as “the Chinese Cinderella” and “the first written Cinderella”. I have carried out an analysis of the tale to demonstrate that most motifs, which have been ascribed to Tang culture, are in fact hardly compatible with it. Moreover, the story presents a broken narrative structure and unclear elements which disclose the difficulties of adaptation of foreign motifs. In order to complete this analysis I have utilised three methodological perspectives, Classicists’, Sinologists’ and Folklorists’ approaches, according to the three different types of narratives investigated, to study this story and its role in the Cinderella cycle. The Classicist point of view investigates the work of writers who have researched fairy tales and motifs found in classical literature, without a genre-oriented framework. The Sinologist point of view, however, tackles this specific story taking into account the specific circumstances of the production of this text and its context, especially Chinese literary history, language and genre, intended not only as the literary frame the author followed, but also as the horizon of expectation of his audience. Lastly, the Folklorist approach enables us to compare this tale with other Cinderella stories, although its traditional method, considering all narratives as folk tales is challenged in that its perspectives is Eurocentric and too often oversimplifying. The elements I haves chosen to analyse are the main components of Cinderella stories, and at the same time they represent the most important dramatis personae in the development of a narrative. The first analysed element is the protagonists of the Chinese tale, Ye Xian, the fact that she is a woman, and that the figure of her stepsister is not described as wicked as in later Chinese Cinderella stories. The second is the antagonist, the stepmother: while stepmothers are common in Chinese literature, they usually appear in stories with different characteristics, usually presenting a male protagonist. The third important element is the helpers. Ye Xian presents one main helper and other two briefly mentioned; while the first can be considered the addition of a particular cultural system, the other two are relics of previous stories. The fourth is the magic object, which has an extremely important role in the stories; this specific magic object, a shoes, has profound cultural connotations and has been interpreted as the undeniable mark of the presence of Chinese culture, related to foot-binding, but this research disprove these conceptions. The fifth is the social gathering along with the figure of the king; the future husband of the protagonist is not described in detail, while the importance of the social gathering as the addition of this precise story to the Cinderella cycle is carefully examined. All the conclusions indicate that this text is a combination of previous narratives containing Cinderella motifs, thus making Ye Xian the first version containing all the elements present in the modern Cinderella. This tripartite methodology is therefore tailored to this case, while it also combines the epistemological approaches to create a paradigm functional for future research where tales are hardly connectible to a precise literary system and whose genre represents a crucial key to interpretation.

The theme of this thesis is women and violence explored in eleven plays by British contemporary women playwrights in the 1980s and 1990s. In order to explore these plays, I have made investigations into a basic knowledge of violence against women in the Introduction. Violence against women is also called sexual violence or gender-related violence. The knowledge I have gained includes how sexual violence is defined; why sexual violence occurs; what kinds of sexual violence there are; how people perceive sexual violence. My definition is that any act which limits the autonomy of women constitutes sexual violence. Based on a variety of definitions by feminist scholars, there are many forms of sexual violence in women's history around the world. As a result, I have found out the continuity, diversity, and universality of women's pain. The nature of sexual violence has been mistaken by many people from the perspective of prevailing myths about women's sexuality. Because of them, many women and female children become double victims. Having understood the true nature of sexual violence, I have selected eleven plays which explore women and violence: The Love of the Nightingale (1988) by Timberlake Wertenbaker; Crux (1991) by April de Angelis; The Taking of Liberty (1992) by Cheryl Robson; Augustine (Big Hysteria) (1991) by Anna Furse; The Gut Girls (1988) by Sarah Daniels; Ficky Stingers (1986) by Eve Lewis; Beside Herself (1990) by Sarah Daniels; Thatcher's Women (1987) by Kay Adshead; Money to Live (1984) by Jacqueline Rudet; Low Level Panic (1988) by Clare McIntyre; Masterpieces (1984) by Sarah Daniels. The thesis is divided into two parts depending on whether the plays are set in the past or present in order to identify the continuity of sexual violence. They depict the exercise of men's power through sexual violence. In the plays women experience violence committed by men and then they are silenced. However, the women demonstrate their fighting spirit and regain their voice or find ways to express themselves. Women's hope for change is expressed through theatre.

Protein S (PS) is a plasma glycoprotein that serves as a cofactor for activated protein C (PC) anticoagulant activity. Inherited PS deficiency has been found to be associated to thrombotic disease in several families. In the present study, we report on a Spanish family with type II PS deficiency.The propositus is a 40 year-old male that was referred to our center for study after having suffered from multiples thrombotic events since he was 20 year-old. After his first episode of deep vein thrombosis (DVT) he had 4 recurrences, three of them complicated with pulmonary embolism. It should be remarked that one of the episodes occured while the patient was under oral anticoagulant treatment. The basic screening of haemostasis and hepatic function were normal for a patient that was being treated with oral anticoagulants. Functional and antigenic levels of antithrombin III, protein C and plasminogen were also normal. When total and free protein S levels (method of Comp et al.) were measured using both an electroimmunoassay and an ELISA assay ,almost indetectable levels of free protein S (between 0 and 10%) and very low levels (20%) of total plasma PS, were found. These results were also confirmed by crossed-electriimnunophoretic studies.When the family of this patient was studied it was found that his two sons, aged 15 and 8 years, as well as one of his sisters, aged 35 years, and her daughter of 4 years, were also affected (free PS levels between 38-60% and total PS between 35 and 39%). All these members had been assymptomatic up to now and are not under oral anticoagulants.

In this working paper, I ask whether or not whites could and should write about concerns of People of Color. To this end, I deal with Hannah Arendt’s controversial article “Reflections on Little Rock” from winter 1958/59. In her article, Arendt comments on the de-segregation of black school children in the USA and the associated unrests in Little Rock (Arkansas) and Charlotte (North Carolina) on September 4, 1957. My analysis of her article is initiated by a confrontation of two other texts. In the first, Why I’m No Longer Talking to White People About Race Reni Eddo-Lodge argues that white people are not able to understand the point of view of people of color. In the second, On Kant’s Political Philosophy Hannah Arendt advocates for the contrary that people can understand each other’s point of view when training their imagination to take visits. Since Arendt’s “Reflections on Little Rock” is considered to be a failure, especially in regards of grasping the problems of people of color in the USA, my general question is whether Eddo-Lodge is right, and whether there is no understanding possible or if Arendt missed a crucial step in her own attempt to go visiting? To clarify this, my analysis focuses on Arendt’s use of the term “discrimination”.