Great Lady Research Articles

Historical and psychological transformations of etiquette behavior of personality

The etiquette behavior is analyzed in a context of history-genesis of the ritual-domestic behavior of the personality in the aspect of its individualization. Based on approaches developed in pragmatics and social psychologists - to studying of politeness and good manners, the etiquette behavior is constructed in the practical regular space and has mainly communicative focus. The psychological and historical transformations of the etiquette behavior of the personality are analyzed in terms of the social constructionism and social constructivism, their methodology enables to study the convergence of the rationality types and regular social practice in order to research politeness and good manners. Considering specifics of the modern life in comparison to the traditional tenor of life, polite conversation gains the character of social illocutionary constructing with its characteristic dialogueness and non-stereotypicalness of expression in the form of a social small talk. The specified transformations are traced on the example of the origin of knightly etiquette and to a cult of the Great Lady.

When Words Are Not Enough: Narrating Power and Femininity Through the Visual Language of Judy Chicago's The Dinner Party

Utilizing theories of silence and silencing that rely on art therapy as a means of overcoming trauma, this essay argues that the two written autobiographies of second-wave feminist visual artist Judy Chicago—Through the Flower: My Struggle as a Woman Artist and Beyond the Flower: The Autobiography of a Feminist Artist—can only be read successfully alongside her opus of visual life narratives. This argument rests on an analysis of the visual rhetoric of Womanhouse, the Great Ladies series, and the Female Rejection Drawings, read alongside Chicago's published narratives. This essay culminates with the argument that the communally produced installation piece The Dinner Party acts as a personal and communal narrative, as well as a political narrative of the second-wave feminist movement in the US.

The Poet as Translator: Mary Wortley Montagu Approaches the Turkish Lyric

The Poet as Translator: Mary Wortley Montagu Approaches the Turkish Lyric

True Lover/False Lover, franquise/dete:

True Lover/False Lover, <i>franquise</i>/<i>dete</i>:

Patronnes et mécènes au c?ur de la Renaissance française

This article proposes an overview of the patronage of some of the great ladies of rank who, at the end of the fifteenth and the beginning of the sixteenth centuries, gravitated around the fulcrum of power in France. “Honest” or “dishonest” (to use the terms then invoked), these women instigated an impressive number of recognized masterpieces in virtually every medium (painting, sculpture, architecture and more), from the Moulins Triptych, to the castle of Anet, to “the greatest building project of the sixteenth century”, the Tuileries. Moreover, a number of distinguished writings on architecture, including the Plus Excellents Bastiments de France by Du Cerceau, were directed at female dedicatees. In the manner of the works propelled by men, those created at the behest of women patrons prove to be inflected by power struggles, dynastic rivalries, political alliances, family ties and friendships ; however, the eyes of these “patronnes” were often riveted on the experiences and achievements of their female peers.

Fisheries economics: cutting a broad swath in the field of scientific inquiry

Fisheries economics: cutting a broad swath in the field of scientific inquiry

The Images of Mary in the Litany of Loreto

AbstractThe titles for Mary in the Litany of Loreto derived from the titles for the Great Lady in Solomon's temple. Known as the Queen of Heaven and Wisdom, she was the Mother of the Lord, but denigrated by the title Asherah. She was purged from the temple by King Josiah in 623 BCE. Traces of her survive in the Bible and other ancient texts, and in icons of the Mother of God, but most remarkably in the Akathist Hymn of the Orthodox Church, and in the Litany of Loreto.

Resurrecting Leonardo's Great Lady: A Collaboration

Sculptor Marilène Oliver and cardiothoracic surgeon Francis Wells collaborated to deconstruct Leonardo da Vinci's drawing The Great Lady in order to reconstruct it as a three-dimensional sculpture. Employing lessons learned from contemporary radiology, they simulated cross sections of The Great Lady that were drawn in pen and ink onto a stack of acrylic sheets. Here Oliver and Wells give independent accounts of the project, not only sharing how their relationship with Leonardo's drawing evolved over the course of the project but also exposing the differences in approach by the scientist and the artist to a science-art project.

In remembrance of Imogene M. King, January 30, 1923 - December 24, 2007: Imogene, a pioneer and dear colleague

In remembrance of Imogene M. King, January 30, 1923 - December 24, 2007: Imogene, a pioneer and dear colleague

Burley Coulter’s Fortunate Fall

Burley Coulter’s Fortunate Fall Wendell Berry (bio) It has been a long, long time since old Uncle Bub Levers was called on to pray at the Bird’s Branch church for the first and only time in his life, when he stood up and said, “O Lord, bless me and my son Jasper. Amen.” The Lord must have thought that was a good idea. For with His help, maybe, Jappy Levers grew up and got himself educated for a lawyer. When he hung out his sign in Hargrave, he wasn’t Jappy Levers any more. He was J. Robert La Vere, Attorney-at-Law. That might not have been all put-on. Some say that La Veres was what the Leverses were before they turned up around Port William. People in Port William don’t say things they haven’t heard of. They never had heard of La Veres. They had heard of Levers. With the Lord’s help maybe, maybe not, Mr. La Vere got to be a rich man. Getting rich, you know, does not always meet with everybody’s approval. There was always somebody, or several bodies, in Port William who would tell you confidently that Mr. La Vere got rich by finding out where the money was and helping himself to a good deal more than his share. In fact they didn’t know, and I don’t know. To find out how such things are done, you will have to ask somebody besides me. Maybe you can do like Mr. La Vere, who gaveth the credit to the Lord, at the same time keeping a good deal of it for himself, the Lord maybe not minding, maybe. Anyhow the Lord either did or didn’t bless Mr. La Vere with the money he scraped together by the time he was forty-five or so, when he bought the biggest house in Hargrave with front-porch columns two stories tall. After Uncle Bub died Mr. La Vere kept the old Levers home place out on Bird’s Branch, and as the chances came he bought other farms hither and yon. So he was right smart of a big deal and on the downward slope when he topped himself off by taking to wife, as Wheeler Catlett put it, the elegant, accomplished, and beautiful Miss Charlotte Riggins. Miss Charlotte was from somewhere off. She could have been rich herself for all I know, maybe, maybe not; but she did [End Page 264] come up in the world by changing her name from Riggins to La Vere and setting up housekeeping behind the tallest front porch in Hargrave. How Mr. La Vere and Miss Charlotte hit it off as a loving couple is anybody’s guess. I somehow never quite could imagine it myself, so I will leave it to you. But Mr. La Vere lived long enough that, by the time he died, Miss Charlotte had taken on all his dignity and become a great lady. By the time Mr. La Vere departed, Miss Charlotte’s hair had turned mortally blue, but she wasn’t exactly an old woman yet. If widowhood hadn’t suited her so well, and with all her goods and money, surely somebody would have married her. I reckon I might have married her myself, maybe, if she had ever asked me. Mr. La Vere died at about the start of the Depression or a little before, and Wheeler Catlett, who was a wingshot of a young lawyer then, settled the old man’s estate, nearly all of it directly onto Miss Charlotte. At about the same time the tenant on the old Levers place gave it up, and Wheeler traded with Grover Gibbs to be the new tenant. And so Grover and his wife Beulah and their children moved into the old Levers house that was the Gibbs house then until Grover retired onto the Social Security. Grover was one of my old running mates, so from then on I was party to the doings of Miss Charlotte and to her, what do you call it?—relationship, I guess—with Grover. Grover was probably the ideal man for the place; Wheeler...

Images of Women and Power

This article discusses iconic visual images of three powerful women: the Virgin of the Apocalypse, as painted by eighteenth-century indigenous Mexican artist Manuel Cabrera; Marlene Dietrich; and Dolores del Río. In Cabrera's work, the Virgin Mary is depicted with wings, actively protecting her child and her people with great energy—almost the opposite of better-known images of the Virgin of Guadalupe. Artfully controlling her own image, Dietrich quietly flaunted her sexual power over the young John Wayne. Finally, del Río used her image and extraordinary beauty to change the way American audiences perceived Latina women. Although she violated most of the gender-based expectations for Mexican women in her personal life, del Río maintained her image as a great lady (not the typical Hollywood image of a Mexican “spitfire”). Catholic filmmaker John Ford even chose to portray her as the Virgin Mary. These images made, and still make, a difference.

Esau's Plant Anatomy, Meristems, Cells, and Tissues of the Plant Body: their Structure, Function, and Development. 3rd edn.

Esau's Plant Anatomy, Meristems, Cells, and Tissues of the Plant Body: their Structure, Function, and Development. 3rd edn.

Zelophehad’s Daughters, Religion, and Jewish Religious Education

This paper revisits the concepts explicit and implicit as pointing to distinct forms of religious consciousness and as conceptual tools for differentiating between diverse forms of Jewish education. The presenting problems are as follows: (a) Is the idea of integration between both of these orientations feasible in terms of psychological and other data that reflect on educational processes? (b) If one aims for integration in the maturing person between both kinds of consciousness, does one have to begin with either the implicit approach or the explicit approach? A look at a fascinating episode involving five “great ladies” proves helpful in addressing the second problem. As for the first, a brief examination of a problem in sociology of religion is illuminating. In memory of Charles S. Liebman, friend and scholar.

Two drawings of the nude by van Gogh

While he recognized that drawing from the nude model was an important part of traditional artistic training, Vincent van Gogh did not often have the opportunity to do so during his years in Holland. Of the approximately one thousand works he did between 1881 and 1885, only two drawings of nudes survive, both done in The Hague in April 1882, and both inscribed by Vincent with tides in English. The original of The Great Lady is lost; only the sketch after it (figure 1) that Vincent sent to his brother Theo remains. The other drawing is the much better known Sorrow (figures 2, 3).

Pictures From an Exhibition: Curating Lift Every Voice at the University of Virginia

Although academic library exhibitions have been referred as illegitimate children, (1) tangential chief mission of their institutions, literature on subject substantiates their significance both public relations and educational goals. (2) The latter objective, in tune with fundamental service mission of libraries, is perhaps so widely touted because of its altruistic aspect. Yet interest in forum as a showcase for public consumption of library treasures is often more pragmatic, arising in part from need broaden bases of financial support compensate for a decrease in traditional sources of revenue. The incompatibility of these two goals poses something of a dilemma for exhibit designers and curators. Creating exhibits with a level of scholarship rigorous enough engage specialist will not necessarily attract large audiences; exhibitions must be comprehensible co both the uninitiated as well as initiated. (3) Yet, satisfying public relations goal means drawing in large numbers of viewers, many of whom may have more interest in being entertained than in being educated. At University of Virginia (UVa) Library, exhibitions had been an integral part of library public relations efforts since mid-1940s. (4) As groundbreaking date loomed for construction of Albert and Shirley Small Special Collections Library and its exhibition space, be housed in Mary and David Harrison Institute for American History, Literature, and Culture, library's exhibitions program underwent reorganization. The position of library exhibits coordinator was created and filled, and an exhibitions committee was formed with following charge: to generate and develop ideas for exhibits in Special Collections that would attract audiences, especially of students and faculty; raise library's visibility; and further library's development program. (5) As a member of that committee, I had become aware of difficulties involved in inveigling likely curators, due time-consuming nature of work and strict deadlines imposed by exhibits schedule. (6) Nevertheless, lured by prospect of becoming better acquainted with rare-music collections and armed with promise of release time and collegial support, I accepted invitation curate fall 2001 exhibition, scheduled for a five-month run from September 2001 mid-February 2002. My task would be choose a music topic with sufficient audience appeal, select exhibit materials, draft commentary for display labels and text, and consult on related topics during various stages of exhibit planning and installation. The following narrative presents a compendium of useful strategies and techniques that I garnered through contact with a network of experienced colleagues during our year of collaboration on Lift Every Voice. Much of what worked well for us can be adapted libraries of various types and sizes, and lack of expert staff or a large exhibitions budget need not deter any interested party from carrying out an equally successful endeavor. While many case studies of library exhibitions have been published, (7) literature pertaining music displays is scanty, and it is my hope that this example of a successful music exhibition may help fill that gap. TARGETING AN AUDIENCE A number of forces conspired in choice of theme for Lift Every Voice, chief among them library's stated goal of attracting and entertaining a wide cross section of visitors, especially from faculty and student populations. Examining registrar's rolls for courses offered by McIntire Department of Music, I noted healthy attendance at Anglo-American Folk Music and Dance, History of Jazz, African Dance and Drum Ensemble, All Shook Up: Elvis Presley, Great Ladies of American Song, Introduction Music in American Sound Cinema, and Popular Culture and Music, which suggested a strong level of interest in American and African vernacular genres. …

Modernism, inc: body, memory, capital

Drawing on a variety of interdisciplinary debates in cultural studies and contemporary theory, Modernism, Inc. provides a new look at the relationship between modernism and postmodernism within the critical frame of twentieth-century American culture. Organized around the idea of incorporation--embodiment, repressed memory, and advanced capitalism--Modernism, Inc. covers a wide range of topics: Josephine Baker's hot house style; the president's penis in American political life; myth-making and the Hoover Dam; trauma, poetics, and the Armenian genocide; feminist kitsch and the recuperation of North America's Great Lady painters; Gertrude Stein and Jewish Social Science; the Reno Divorce Factory and the production of gender; Andy Razaf and Black Bolshevism. Collectively, the essays suggest that the relationship between the modern and the postmodern is not one of rupture, belatedness, dilution, or extremity, but of haunting. Modernism, Inc. looks at our ghosts, and at the unspeakable secrets of modernity from which they're derived. Contributors: Maria Damon, Walter Kalidjian, Walter Lew, Janet Lyon, William J. Maxwell, Cary Nelson, John Timberman Newcombe, David G. Nicholls, Thomas Pepper, Paula Rabinowitz, Daniel Rosenberg, Marlon Ross, Jani Scandura, Kathleen Stewart, Julia Walker.

Sainte Mélanie et les reliques des martyrs

When he wrote, “The Life of St. Melanie”, Gerontios did not refrain from mentioning the diverse circumstances in which, all along her existence, this great lady of the 5th century, converted to the monastic way of life, shows her fervor towards the martyrs and their cult. St. Melanie placed them at the center of the monasteries she had built for her monks and nuns of Jerusalem. This form of piety, bound to a period of time in a way particularly notable, is presented as an additional witness to the Christian faith of this saint.

« Madame Récamier » : entre portrait et causerie

Juliette Récamier was one of the «fays » of the literary salons whom Sainte-Beuve always adulated as much for their irradiant charm as for their genius in the social art of conversation, an art that he mode efforts to practice himself, albeit in writing, in his Causeries. In those that he dedicated to her in 1849, just after her death, then in 1859 (at the time of the publication of the work by her niece, Mme Lenormant), Sainte-Beuve remained under her charm. However, he then began to shake off the «friendly influence » of his paragon that, he admitted, had for a long time paralysed him. Was this Eurydice not also a great lady of ordered life, who had a taste only for delicacy ? While not forgetting the crucial question asked by all women, «Did she fall in love ? », but leaving the biographical details in the shadows, Sainte-Beuve also raises the question of her deficient relationship with writing. She was full of charm and supremely feminine. And what more happy error than that the success of the causeur des Lundis depended on this obliteration of the muse. It was then for Sainte-Beuve to speak in her place and for her to be this still, silent body incorporated into the very corpus of the critical work.

Remembering Great Ladies: Supreme Court Wives' Stories

Remembering Great Ladies: Supreme Court Wives' Stories

Remembering Great Ladies: Supreme Court Wives’ Stories

Remembering Great Ladies: Supreme Court Wives’ Stories RUTH BADER GINSBURG and LAURA W. BRILL* Introduction: Portraits of Some Ladies The rooms and halls ofthis stately building are fdled with portraits and busts ofgreat men. Taking a cue from Abigail Adams, I decided, when asked to present this lecture, it was time to remember the ladies—the women associated with the Court in the nineteenth and early twentieth centuries. Not as Justices, of course; no woman ever served in that capacity until President Reagan’s historic appointment of Sandra Day O’Connor in 1981.1 will speak of the Justices’ partners in life, their wives. As a curtain raiser, and with the aid ofFranz Jantzen, Court photogra­ pher and photograph collection curator, I will present, from our in-house collection, portraits of some ladies. On display from the Court’s portrait collection are just four spouses and, best known, not a Court wife at all, but a portrait ofAnn Odle Marbury, painted by her cousin, the artist Rembrandt Peale. That 1797 painting ofAnn Marbury is companion to the Peale portrait ofAnn’s husband, William Marbury, ofMarbury v. Madison fame. Ofthe four paintings of wives, a Thomas Sully portrait painted for Justice Peter Vivian Daniel is my favorite. Justice Daniel served on the Court from 1842 until his death in 1860. The painting he commissioned presents a still unresolved question. It is uncertain whether the portrait, painted in 1858, is ofthe Justice’s first wife, nee Lucy Nelson Randolph, who died in 1847, or of his second wife, nee Elizabeth Harris, who died in 1857, the year before the painting’s date. According to the artist’s records, the painting is of Lucy, but descen­ dants say it is ofElizabeth. Let’s look next at the appealing portrait of Julia Ann Blackburn Washington, wife of George Washington’s nephew, Bushrod Wash­ ington, who was appointed Associate Justice in 1798, and served on the Court fornearlythree 256 JOURNAL OF SUPREME COURT HISTORY decades. The portrait, attributed to Chester Harding, was painted circa 1820. Ann Wash­ ington was an avid reader and an accomplished musician. In the portrait she holds a music book. She is perhaps thinking about a song she will play that evening on her lyre. The mu­ sic books and instruments Bushrod and Ann Washington collected are today housed at Mount Vernon. Ann survived Bushrod by only This 1797 portrait of Ann Odle Marbury was painted by her cousin, Rembrandt Peale, and is a companion to the one Peale painted of her husband, William Marbury. A “midnight” appointee of outgoing Federalist President John Adams, Marbury was commissioned as a justice of the peace in 1800. He had trouble claiming his commission when the Republicans took power and his case was eventually taken up by the Supreme Court. Marbury v. Madison (1803) established the principle of judicial review. three days. They are buried at Mount Vernon, close to George and Martha Washington. The collection also includes a painting of Anne Phoebe Key Taney, sister ofFrancis Scott Key, and wife of Chief Justice Roger Brooke Taney, whose tenure ran from 1836 until 1864. The artist is unknown. On their forty-sixth an­ niversary, Taney wrote to Anne: “I have done many things that I ought not to have done, and have left undone many things that I ought to have done, yet in constant affection to you I have never wavered—never being insensible how much I owe to you ....” A Taney biogra­ pher reported: “No man was more happily mar­ ried than Mr. Taney.” Anne and the youngest of her six daughters (a son died in childhood) died ofyellow fever in 1855. She was not alive when her husband wrote the decision in Dred Scott v. Sandford (1857), which cast a long, in­ delible shadow over Taney’s name. The Court’s most recent acquisition is a portrait ofScotland-born Jean Blair, painted by Cosmo John Alexander circa 1771, some fifteen years after Jean’s marriage. Jean’s husband, John Blair, Jr., a Virginia delegate to the 1787 Federal Constitutional Convention, served as a Justice from 1790 until 1795. Like Polly The painter of this portrait of Anne Phoebe Key Taney is...