title: Aspects of Mary Wollstonecraft's Religious Thought

authors: Morgan, Suzanne Melissa

subjects: Religion

abstract: The works of Mary Wollstonecraft have been largely utilized in the twentieth and twenty-first centuries within the domain of feminist studies.  They were influential throughout the 'feminist movement' of the 1960s and 1970s and Wollstonecraft is routinely given the title of 'mother' of feminism.  One result of her works being classified as important feminist texts is the elision of the religious element in her works.  Moreover, recent scholarship has drawn attention to the central importance of religion in eighteenth century British discourse.  This thesis will primarily argue that Wollstonecraft was heavily influenced by religion, and that her writings were conceived in response to a profoundly theologico-political culture.  This influence of religion has generally been overlooked by researchers and this thesis will aim to redress this absence.

Four of Wollstonecraft's works - all produced within a 'similar' political climate and within a concise time period - are utilized to show that religion was a foundational element within Wollstonecraft's thought and arguments.  This thesis shows that Wollstonecraft was not so much a 'feminist' thinker, but a unique intellectual determined to show that the inferior position of women went against 'God's will', teachings and the equality He had ascribed to both men and women during Creation.

text: Aspects of Mary Wollstonecraft's Religious Thought The works of Mary Wollstonecraft have been largely utilized in the twentieth and twenty-first centuries within the domain of feminist studies.  They were influential throughout the 'feminist movement' of the 1960s and 1970s and Wollstonecraft is routinely given the title of 'mother' of feminism.  One result of her works being classified as important feminist texts is the elision of the religious element in her works.  Moreover, recent scholarship has drawn attention to the central importance of religion in eighteenth century British discourse.  This thesis will primarily argue that Wollstonecraft was heavily influenced by religion, and that her writings were conceived in response to a profoundly theologico-political culture.  This influence of religion has generally been overlooked by researchers and this thesis will aim to redress this absence.

Four of Wollstonecraft's works - all produced within a 'similar' political climate and within a concise time period - are utilized to show that religion was a foundational element within Wollstonecraft's thought and arguments.  This thesis shows that Wollstonecraft was not so much a 'feminist' thinker, but a unique intellectual determined to show that the inferior position of women went against 'God's will', teachings and the equality He had ascribed to both men and women during Creation.

year: 2007

title: 'Morbid Exhilarations': Dying Words in Early Modern English Drama

authors: Martin, Fiona

abstract: In Renaissance England, dying a good death helped to ensure that the soul was prepared for the afterlife. In the theatre, however, playwrights disrupt and challenge the conventional formulas for last words, creating death scenes that range from the philosophical to the blackly comic. In expanding the potential of the dying speech, dramatists encourage in their audiences a willingness to contemplate less orthodox responses to death. This thesis thus focuses on the final utterances of dying characters, in selected scenes from early modern English tragedies. While scenes from iconic dramatists such as William Shakespeare and Christopher Marlowe are considered as part of the discussion, emphasis is primarily given to those of less canonical playwrights, including George Chapman, Thomas Dekker, John Fletcher, Thomas Kyd, Gervase Markham, John Marston, Philip Massinger, Thomas Middleton, John Webster, William Sampson, and Robert Yarington. Chronologically, the scenes span nearly four decades, from Marlowe’s Tamburlaine plays in 1590, to Sampson’s Vow Breaker in 1636. The thesis encompasses four major contexts for the study of dying speeches: beheadings, murder, revenge and suicide. Chapter One, on public execution, focuses on scaffold speeches delivered prior to simulated beheadings on the stage. The second chapter examines the genre of the murder play and the pattern of the victim’s displaced last words. Chapter Three explores the creative freedom taken by playwrights in the composition of dying speeches in revenge scenarios, and the final chapter foregrounds the verbal preoccupations of characters who choose to take their own lives. Each subject is established in relation to social, religious and political contexts in early modern England, so that characters’ final words are considered from both historical and literary perspectives.

text: 'Morbid Exhilarations': Dying Words in Early Modern English Drama In Renaissance England, dying a good death helped to ensure that the soul was prepared for the afterlife. In the theatre, however, playwrights disrupt and challenge the conventional formulas for last words, creating death scenes that range from the philosophical to the blackly comic. In expanding the potential of the dying speech, dramatists encourage in their audiences a willingness to contemplate less orthodox responses to death. This thesis thus focuses on the final utterances of dying characters, in selected scenes from early modern English tragedies. While scenes from iconic dramatists such as William Shakespeare and Christopher Marlowe are considered as part of the discussion, emphasis is primarily given to those of less canonical playwrights, including George Chapman, Thomas Dekker, John Fletcher, Thomas Kyd, Gervase Markham, John Marston, Philip Massinger, Thomas Middleton, John Webster, William Sampson, and Robert Yarington. Chronologically, the scenes span nearly four decades, from Marlowe’s Tamburlaine plays in 1590, to Sampson’s Vow Breaker in 1636. The thesis encompasses four major contexts for the study of dying speeches: beheadings, murder, revenge and suicide. Chapter One, on public execution, focuses on scaffold speeches delivered prior to simulated beheadings on the stage. The second chapter examines the genre of the murder play and the pattern of the victim’s displaced last words. Chapter Three explores the creative freedom taken by playwrights in the composition of dying speeches in revenge scenarios, and the final chapter foregrounds the verbal preoccupations of characters who choose to take their own lives. Each subject is established in relation to social, religious and political contexts in early modern England, so that characters’ final words are considered from both historical and literary perspectives.

year: 2010

title: Claiming space and restoring harmony within hui whakatika

authors: Berryman, Mere

subjects: Maori

abstract: The time has come for indigenous, specifically Māori psychologies, to move from the margins, and claim legitimate space within the discipline of psychology (MPRU, 2007). Phinney and Rotheram (1987) argue that there are ethnicallylinked ways of thinking, feeling and acting that are acquired through socialisation. The message implicit in this statement has profound implications for a discipline that seeks to understand and respond to the intricacies of human behaviour. Although the epistemological paradigms emerging from the experiences of indigenous minorities such as Māori may offer a challenge to mainstream knowledge and perspectives (Gordon, 1997), it is clear that disregarding such alternatives may well leave the discipline of psychology impoverished. On the other hand, paying attention to alternative paradigms may well serve to enrich this discipline. This paper presents two successful Hui Whakatika that were led by Māori in mainstream settings. Particular dimensions of, and congruencies between both are explored. The first highlights the vital role of a kaumatua in facilitating and guiding the entire process; the second focuses on the role and experiences of a kaitakawaenga as he works collaboratively with whānau members to find resolution and restore harmony.

text: Claiming space and restoring harmony within hui whakatika The time has come for indigenous, specifically Māori psychologies, to move from the margins, and claim legitimate space within the discipline of psychology (MPRU, 2007). Phinney and Rotheram (1987) argue that there are ethnicallylinked ways of thinking, feeling and acting that are acquired through socialisation. The message implicit in this statement has profound implications for a discipline that seeks to understand and respond to the intricacies of human behaviour. Although the epistemological paradigms emerging from the experiences of indigenous minorities such as Māori may offer a challenge to mainstream knowledge and perspectives (Gordon, 1997), it is clear that disregarding such alternatives may well leave the discipline of psychology impoverished. On the other hand, paying attention to alternative paradigms may well serve to enrich this discipline. This paper presents two successful Hui Whakatika that were led by Māori in mainstream settings. Particular dimensions of, and congruencies between both are explored. The first highlights the vital role of a kaumatua in facilitating and guiding the entire process; the second focuses on the role and experiences of a kaitakawaenga as he works collaboratively with whānau members to find resolution and restore harmony.

year: 2008