paleoanthropology community. Hardy was surprised by the attention and sought to correct misleading reports by publishing an explanation of his speech, and thus the aquatic ape hypothesis (AAH) took its' first strokes out into the world (Ellis 2011). Elaine Morgan picked up the reigns in 1972 and championed the theory until her death in July 2013 (Williamson 2013). Morgan's publications updated Hardy's idea and brought the AAH greater recognition from the public but failed to earn the respect of academia
Elaine Tyler May’s Homeward Bound Elaine Tyler May's Homeward Bound weaves two traditional narratives of the fifties -- suburban domesticity and rampant anticommunism -- into one compelling historical argument. Aiming to ascertain why, unlike both their parents and children, postwar Americans turned to marriage and parenthood with such enthusiasm and commitment, May discovers that cold war ideology and the domestic revival [were] two sides of the same coin: postwar Americans' intense need to
English department. "What would your dream course be?" she asked. "My dream course," the candidate responded, "would be theory and nontheory." "What's nontheory?" asked a committee member. "You know," the candidate replied. "Poems, stories, plays."...Elaine Showwalter, Professor Emeritus, Princeton University A very short introduction: "When Aretha Franklin sings 'You make me feel like a natural woman,' she seems happy to be confirmed in a 'natural' sexuality identity, prior to culture, by a man's
suspense, and horror story are revealed. The plot will be discussed, for easier comprehension of the story. This plot begins when Bruce , an 18 year old high school boy was at a bar with his best friend Raymond, and a few other friends named Ed, and Elaine. Unfortunately, Bruce got intoxicated, but still decided to drive the others home from the bar. On the way home, Bruce began arguing with Ray, (the only sober one), and the car was steered of the road into a tree. Raymond was killed by the accident
adaptations from novel to television series has not affected the presence of this character, more than a hundred years after the publication of Dracula in 1897. What also unites the novel and the series is their fin-de-siècle resonance. According to Elaine Showalter, sexually and socially subversive themes feature strongly in periods of cultural insecurity. In addition to the century that separates Buffy from the Count, there has been a plethora of vampire movies and books of various merits. As a result
situation comedy without a specific situation. What made the show unique and revolutionary was that it focused on the lives of four adults who were anything but what television and society itself had taught us to expect adults to be. Jerry, George, Elaine, and Kramer resembled more closely four children who never grew up, or never learned what it meant to be an adult. By the age of 40, none of them had spouses, children, or serious careers (I say ‘serious’ because Jerry did have a career, but it was
looked very lonesome this cold March morning. It had always been a lonesome-looking place. It was down in a hollow, and the poplar trees around it were lonesome-looking trees” (189). The reader definitely gets the feeling that this is a lonely place. Elaine Hedges writes, “Through her brief opening description of the landscape Glaspell establishes the physical context for the loneliness and isolation, an isolation Minnie inherited from and shared with generations of pioneer and farm women before her”
Showalter’s Analysis of Chopin’s The Awakening In “Tradition and the Female Talent: The Awakening as a Solitary Book,” Elaine Showalter makes a compelling argument that “Edna Pontellier’s ‘unfocused yearning’ for an autonomous life is akin to Kate Chopin’s yearning to write works that go beyond female plots and feminine endings” (204). Urging her reader to read The Awakening “in the context of literary tradition,” Showalter demonstrates the ways in which Chopin’s novel both builds upon and departs
demands. The girl on the outside of the stall gave more warnings to others that stumbled into this semi-chaotic restroom. Still no response from inside the stall. I was half tempted to launch into the Seinfeld “Spare a Square” tirade (in which Elaine gets into a fight with a woman in a neighboring stall who refuses to pass her some toilet paper), since it seemed fitting in such a situation. But I held off, doubting that either girl would understand the joke. Fortunately, I didn’t have to ponder
different categories of gender and sexuality. Gender criticism does not only focus on women’s gender and sexuality, but also includes male gender issues. Gender criticism began solely as feminist criticism, and now the two are still overlapped. Elaine Tuttle Hansen has applied feminist criticism in her analysis of "The Miller’s Tale" in a segment of the chapter "Women as the Same" from the book Chaucer and the Fictions of Gender. While earlier critics have focused on the humorous side of what they
prepared for the future conflict between the two girls when it is mentioned, "The third girl doesn't wave". This lack of warmth towards Elaine is a premonition of what is to come, and is at the same time believable- new girls are often wary of each other, uncertain of what the other will be like. This key moment also reveals certain character aspects in both Cordelia and Elaine that continue through out the bullying period, for example Cordelia's judgmental attitude "her eyes are measuring" or " Cordelia
A Good Samaritan Law is Never a Good Idea Less than one year ago, the largest television audience since the series finale of M*A *S*H tuned in to watch the last episode of Seinfeld As the nation watched, Jerry, Elaine, George, and Kramer said farewell with the arrest, trial, and conviction of violating a Good Samaritan law. While this made for a hilarious television show, this law itself seems to both contradict its essence as well as violate the right to freedom of choice of a citizen. The
Sir Galahad In the Arthurian legends, Sir Galahad is one of the most mentioned and most important of the Knights of the Round Table. Conceived when the other famous knight, Lancelot, slept with the lady Elaine (daughter of King Pelles) thinking she was his loved but forbidden Guinevere. Unaware of his parent’s identities, Galahad was raised by an abbess until reaching his fifteenth birthday when he was introduced to his father, who knighted him and accompanied him into Arthur’s court. There
Elaine Showalter's Representing Ophelia Elaine Showalter defines Ophelia in many typical ways in her essay "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism." She discusses her significance in reference to how she reveals Hamlet's characteristics. Showalter touches upon the idea that Ophelia's character is one that is symbolic of the psychiatric theories of Freud. Showalter also attributes the characterization of Ophelia to not only the audience, but also
caretaker, surveyor, reporter, writer, and foreign correspondent let him acquire knowledge in many areas.” (1) Even in his youth, Steinbeck developed a love of the natural world and diverse cultures. Steinbeck produced two children from his second wife, Elaine Scott. The early 1930’s became a struggle for Steinbeck, both in his Long 2 attempts to improve his writing and his day-to-day existence. Yet, in the 1940’s he turned his main interest from sociology and biology to individual ethics. Steinbeck was
The Church Until Recently Was Pro-Choice From a sermon delivered on February 15, 1998 at the Unitarian Universalist Church of Urbana-Champaign, Illinois, by the Rev. Elaine Gallagher Gehrmann: Most of us know that the Roman Catholic church teaches that life begins at conception, and yet most of us don't know that this is a relatively recent change. It wasn't until 1869 that Pope Pius IX decreed that "ensoulment" takes place at conception. Up until then, the Catholic church had taught
Ophelia as a Sexual Being in Hamlet In Elaine Showalter's essay, "feminist criticism allows Ophelia to upstage Hamlet [and] . . . brings to the foreground . . . the cultural links between femininity, [and] female sexuality" (221). In most of his plays, William Shakespeare has many women in secondary roles, only filling dead space or causing strife between men. During Shakespeare's time, thoughts of women bordered on weak and deceitful images, leading to the idea of frail, yet conniving creatures
beholder. The prerequisite for art to be considered art is on the receiving side. I think it a human quality to admire or be affected by art. Like the tree that falls in the forest, is a painting art if nobody sees it? In an article written by Elaine Thornburgh and Jack Logan, they discuss the quality that all great art has, the ability to transcend time and place. I have my own feelings about what should be considered art, and it is just that, my feeling. Art moves, inspires, disgusts, disturbs
Walking Across Egypt Mattie Rigsbee is the main character in Clyde Edgerton's southern style novel, Walking Across Egypt. Mattie is a seventy-eight year old widow with two middle-aged children. Living alone in a small house, she makes sure that everything is taken care of. Although begins to display some signs of aging, and her family is trying to convince her to slow down her lifestyle, Mattie's character and mind setting prohibits her from becoming the stereotypical elder. She must make a decision
Elaine of Astolat in Tennyson's The Lady of Shalott and Lancelot and Elaine The Arthurian legends have fascinated people over the centuries with tales of kings, noble ladies, knights, magicians, love, and death. Among those who wrote about King Arthur's reign was Alfred, Lord Tennyson. One of his poems, "The Lady of Shalott," became immensely popular for its moving pathos and mystery. Yet, the poem was based on a character from Arthurian legends - Elaine of Astolat. Several years after