School of Nursing Class of 2002

Top Row: Robyn Albrecht, Brea Anne Aldorfer, Elizabeth Andersen, Jamie Anderson, TaNea Andrews, Julie Badgero, Margarita Barrientes, Jessica Barton, Jennifer Baughman, Catherine Baxter, Jeff Bell, Jessica Bellardi, Sarah Bethel, Melissa Black, Sherese Black

Row 2: Daniela Bordei, Hannah Burgess, Tonya Melton, Patricia Kelly, Tanina Media, Lenette Whitehead, Suzanne Begeny, Jasmine Beale, Martha Richard, Stephanie A. Shafer, Sarah Wilson, Staci Byrd, Jennifer Cheng

Row 3: Rebecca Cohrs, Jeana Cox, Regina Cox, Emalee Danforth, Susan Daron, Kara Dazarow, Marites de la Fuente, Abigail Devine, Carrie Dickson, Christopher Ducher

Row 4: Jennifer Flynn, Elizabeth Foster, Nicole Gatesy, Michelle Gaudreau, Melissa Hagan, christa Hamilton, Christina Hazergian, Crystal Herwat, Rebecca Hunnicutt, Emily Johnston

Row 5: Valerie Jons, Rani Khan, Anne Konczak, Teresa Konopka, Joanne Pohl, Nola Pender, Carol Loveland-Cherry, Ada Sue Hinshaw, Margaret Calarco, Judith Lynch-Sauer, Jan L. Lee, Jill LaDronka, Shane LaGore, Melanie LaPierre, Stacy lamb

Row 6: Kathleen Laughlin, Holly Leupp, Emily Lewellen, Victoria Lilga, Bethany Lusher, Nancy Ma, Lindsay Mahlstedt, K. Luba Manko, Beverley Marchant, Anne Marlatt, Martha Mason, Deborah McConnell, Robin Meganck, Jill Messina

Row 7: Patricia Milne, Yvonne Moran, Melissa Myer, Bradley Niese, Brooke Oakley, Kristy Opasik, Amanda O'Reilly, Elisabeth Paulson, Nancy Pavelek, Johnnie Peoples, Melissa Perry, Elissa Pocze, Michelle Ponikvar, Victoria Portman, Shelley Reeves

Row 8: Michael Rempel, Jill Richert, Jennifer N. Rish, Rebekah Royce, Kristan Schoenfeld, Shawn Schofield, Holly Setterington, Heidi Sprunk, Emily Staugaard, Rachel Stevens, Linda Suh, Tiffany Sylvertooth, Kimberly Taylor-Vincent, Arik Theeke

Row 9: Kim Thomas, Stephanie Thompson, Patricia Tillman, Leigh Tooman-Letson, Ryan Upson, Nicole Vance, Jacquelynne Walsh, Jill Weirich, Monica White, Anthony Worley, Heide Wright, Kelly Yager, Marichal Young

Houghton, from Smelting Works

Stereograph

Portage lake smelting works

Stereograph

Memoirs of the life of Anne Boleyn, Queen of Henry VIII /

Mode of access: Internet.

The works of George Peele /

v. 1. Some account of Peele and his writings. The arraignment of Paris. Edward the First. The old wives tale.--v. 2. David and Bethsabe. Battle of Alcazar. Device of the pageant borne before Woolstone Dixi. Descensus Astrææ. A farewell to Sir John Norris and Sir Francis Drake, &c., and a Tale of Troy. Polyhymnia. The honour of the Garter. Miscellaneous poems. Peele's Merry conceited jests. Index to the notes.--v. 3. Addenda to the account of Peele and his writings. Sir Clyomon and Sir Clamydes. An eclogue gratulatory. Speeches to Queen Elizabeth at Theobald's. Anglorum feriæ. Additional notes to vols. i. and ii.

The works of the reverend Dr. Jonathan Swift /

Vol. 1 has general title page, other volumes have unique title pages.

The works of Charles Paul de Kock : with a general introduction by Jules Claretie.

Vols. 1-6 translated by Mary Hanford Ford; v. 7-21, 24-25, by Edith M. Norris; v. 22, by Arthur S. Martin; v. 23, by Arthur S. Martin and Edith M. Norris.

Parley's Common school history revised: a pictorial history of the world, ancient and modern, for the use of schools.

An abridged edition of "Peter Parley's Universal history on the basis of geography" which was published in 2 v. in 1837, prepared for Goodrich originally by Nathanial Hawthorne with the aid of his sister Elizabeth. cf, Lathrop, G. P., Study of Hawthorne, 1876, p. 171-172; Goodrich, S. G., Recollections, 1856, v. 2, p. 541 (foot-note) 544.

The works of Charles Paul de Kock, with a general introduction by Jules Claretie.

Vols. 1-6 translated by Mary Hanford Ford: v. 7-21, 24-25, by Edith M. Norris; v. 22, by Arthur S. Martin; v. 23, by Arthur S. Martin and Edith M. Norris.

The works of John Knox /

Includes indexes.

Elizabeth Reid International Women's Year conference

General note: Title and date provided by Bettye Lane.

Elizabeth Reid at the United Nations with her daughter

General note: Title and date provided by Bettye Lane.

Elizabeth Reid at NOW Conference

General note: Title and date provided by Bettye Lane.

Australian Delegate Elizabeth Reid at International Women's Year Conference at the United Nations

General note: Title and date provided by Bettye Lane.

Disruptive Threads and Renegade Yarns: Domestic Textile Making in Selected Women's Writing 1811-1925

Images of domestic textiles (items made at home for consumption within the household) and textile making form an important subtext to women’s writing, both during and after industrialization. Through a close reading of five novels from the period 1811-1925, this thesis will assert that a detailed understanding of textile work and its place in women’s daily lives is critical to a deeper understanding of social, sexual and political issues from a woman’s perspective. The first chapter will explore the history of the relationship between women and domestic textile making, and the changes wrought to the latter by the Industrial Revolution. The second chapter will examine the role of embroidery in the construction of “appropriate” feminine gentility in Jane Austen’s Mansfield Park (1814). The third chapter, on Elizabeth Gaskell’s Cranford (1853), will explore how the older female body became a repository for anxieties about class mobility and female power at the beginning of the Victorian era. The fourth chapter will compare Sara Jeannette Duncan’s A Social Departure (1890) and Kate Chopin’s The Awakening (1899) to consider how later Victorian women both internalized and refuted public narratives of domestic textile making in a quest for “self-ownership.” The last chapter, on Martha Ostenso’s Wild Geese (1925), examines the corrosive, yet ultimately redemptive, relationships of a family of women trapped by abuse and degradation. For all five authors, images of textiles and textile making allow them to speak to issues that were usually only discussed within a community of women: sexuality, desire, aging, marriage, and motherhood. In all five works, textile making “talks back” to the power structures that marginalize women, and lends insight into the material and emotional circumstances of women’s lives.