Julie Vandivere - Academia.edu (original) (raw)
Papers by Julie Vandivere
Journal of Education and Human Development, 2021
Background. Despite the quality of students typically accepted into honors programs, completion r... more Background. Despite the quality of students typically accepted into honors programs, completion rates are relatively low, ranging from less than 20% to a high of 48% (Campbell & Fuqua, 2008; Cognard-Black, Smith, & Dove, 2017). Purpose. This research aims to integrate a high-impact Outdoor Orientation Program (OOP) into the honors curriculum to determine its impact on individual outcomes linked to student success and retention, such as self-efficacy and self-esteem, emotional intelligence, grit, and life satisfaction. Methodology/Approach. 28 first-year honors students participated in a 4-day mountain climb OOP. Participants completed psychosocial measures before the OOP and at the end of the semester. The remaining first-year honors students served as the control. Findings/Conclusions. Overall, results revealed that students who participated in the OOP showed more significant improvements on nearly all outcomes of interest over the semester than those who did not. Implications. This study supports the use of OOPs in a university setting, and these benefits may extend beyond the honors program.
Virginia Woolf and the World of Books, 2019
This chapter revisits two major points in Woolf's essay 'Mr. Bennet and Mrs. Brown' -... more This chapter revisits two major points in Woolf's essay 'Mr. Bennet and Mrs. Brown' - that human nature changed in or about December 1910, and that novelists have become too caught up in 'things' as they try to understand human character.
“Peggy Guggenheim’s and Bryher’s Investment: How Financial Speculation Created a Female Modernist... more “Peggy Guggenheim’s and Bryher’s Investment: How Financial Speculation Created a Female Modernist Tradition” focuses on the patronage of two wealthy women, Peggy Guggenheim and Bryher, in order to examine how these patrons shaped modernism produced by women. The chapter also considers other female modernists such as H.D. and Mina Loy. I examine how modernist patronage required both a living subsidy and a willingness to provide pipelines to publication. Further, I argue that in these two cases, the source of the money helps predict the mode of patronage and ultimately the canon; the patron’s literary and artistic investment replicates the financial investments from which they derive their fortunes and predicts their willingness to underwrite experimental projects.
Journal of British Studies, 2016
Festa Da Palabra Silenciada, 1989
Choice Reviews Online, 2008
Twentieth Century Literature, 1996
Throughout her work, Virginia Woolf - as a modernist, a feminist, and a woman writer - is preoccu... more Throughout her work, Virginia Woolf - as a modernist, a feminist, and a woman writer - is preoccupied with questions about how aesthetic form impinges upon social structures and how women, especially as artists, are to conceive of themselves within patriarchal cultures. Woolf addresses these issues directly, of course, in A Room of One's Own and Three Guineas, but they are no less crucial - in perhaps even more interesting ways - to her novels. There, the inquiry into women's places in society often appears as an interrogation of subject formation. While scholars have for some time pointed out Woolf's concern with subject construction and the construction of the world, they have not analyzed how this interest appears on grammatical, rhetorical, syntactic, and figural levels. Accordingly, I want to explore two of Woolf's late novels, The Waves and Between the Acts, where, I suggest, Woolf's investigation of subject construction manifests itself primarily in linguistic terms, leading her to use constructs of language to critique traditional assumptions about unified selves and patriarchal systems. The titles of the two novels furnish initial clues about the linguistic nature of Woolf's query into subjects and society, for they may be read as signaling, among other things, how Woolf understands language to function both specifically within the texts and generally in formation and perception. The Waves takes its name from descriptions of the ocean in the vignettes that open each chapter. Interpolation of lyric meditations on nature within sections of narrative is one of Woolf's standard techniques, central to both The Years and To the Lighthouse. But in The Waves, Woolf instead prefaces each chapter with such an interlude, each containing four key images: the sun, birds, waves, and a garden. Three of these images then find direct corollaries within the chapters themselves: The sun moves from sunup to sunset and follows the trajectory of the narrative as it moves from childhood to old age; the garden resembles the scenic backdrop of the novel; and the birds' actions mimic those of the characters. The only image in the vignettes that scholars do not discuss as having an immediate correspondence elsewhere in the novel is the waves themselves. I would suggest, however, that the waves are also duplicated in the text - that they recur within the structure of Woolf's prose. There, linguistic flux and instability often coincide with moments when characters work to define themselves in language. In other words, "wavering" configurations of language betoken "wavering" ontological constructions, especially constructions of the self.(1) As in the case of The Waves, the title of Between the Acts suggests a myriad of references. Readers have taken the "Between" to refer to the characters' interaction "between the acts" of Miss La Trobe's play, to the space "between" the two world wars, to silence, and to Woolf's oblique emphasis on sentiments hidden "between" the lines of the characters' actual dialogue: Giles's melancholy agonies, Isa's countless frustrations, Lucy's prolonged soul searchings.(2) And the title, like "The Waves," also refers to the language in the novel. In this configuration, each moment of enunciation may be seen as an act of a play, so that accompanying those enunciations, those "Acts," is something that lies "Between" them, outside them, giving them shape and putting pressure on them. That something is not only silence - the absence of speech - but is also the form, the structure, by which consciousness, and thus subjectivity, is conceptualized. Such a process of shuttling "Between the Acts," then, may describe the construction of language. Simply, one of the primary "betweens" in the novel is the linguistic structure that shapes the acts of speech. Woolf's novels then elaborate on the implications of their titles as they explore how individuals must continually work to form themselves in a world devoid of linguistic and, by extension, philosophical correspondences. …
The Journal of the History of Childhood and Youth, 2010
Modernism/modernity, 2021
Journal of Education and Human Development, 2021
Background. Despite the quality of students typically accepted into honors programs, completion r... more Background. Despite the quality of students typically accepted into honors programs, completion rates are relatively low, ranging from less than 20% to a high of 48% (Campbell & Fuqua, 2008; Cognard-Black, Smith, & Dove, 2017). Purpose. This research aims to integrate a high-impact Outdoor Orientation Program (OOP) into the honors curriculum to determine its impact on individual outcomes linked to student success and retention, such as self-efficacy and self-esteem, emotional intelligence, grit, and life satisfaction. Methodology/Approach. 28 first-year honors students participated in a 4-day mountain climb OOP. Participants completed psychosocial measures before the OOP and at the end of the semester. The remaining first-year honors students served as the control. Findings/Conclusions. Overall, results revealed that students who participated in the OOP showed more significant improvements on nearly all outcomes of interest over the semester than those who did not. Implications. This study supports the use of OOPs in a university setting, and these benefits may extend beyond the honors program.
Virginia Woolf and the World of Books, 2019
This chapter revisits two major points in Woolf's essay 'Mr. Bennet and Mrs. Brown' -... more This chapter revisits two major points in Woolf's essay 'Mr. Bennet and Mrs. Brown' - that human nature changed in or about December 1910, and that novelists have become too caught up in 'things' as they try to understand human character.
“Peggy Guggenheim’s and Bryher’s Investment: How Financial Speculation Created a Female Modernist... more “Peggy Guggenheim’s and Bryher’s Investment: How Financial Speculation Created a Female Modernist Tradition” focuses on the patronage of two wealthy women, Peggy Guggenheim and Bryher, in order to examine how these patrons shaped modernism produced by women. The chapter also considers other female modernists such as H.D. and Mina Loy. I examine how modernist patronage required both a living subsidy and a willingness to provide pipelines to publication. Further, I argue that in these two cases, the source of the money helps predict the mode of patronage and ultimately the canon; the patron’s literary and artistic investment replicates the financial investments from which they derive their fortunes and predicts their willingness to underwrite experimental projects.
Journal of British Studies, 2016
Festa Da Palabra Silenciada, 1989
Choice Reviews Online, 2008
Twentieth Century Literature, 1996
Throughout her work, Virginia Woolf - as a modernist, a feminist, and a woman writer - is preoccu... more Throughout her work, Virginia Woolf - as a modernist, a feminist, and a woman writer - is preoccupied with questions about how aesthetic form impinges upon social structures and how women, especially as artists, are to conceive of themselves within patriarchal cultures. Woolf addresses these issues directly, of course, in A Room of One's Own and Three Guineas, but they are no less crucial - in perhaps even more interesting ways - to her novels. There, the inquiry into women's places in society often appears as an interrogation of subject formation. While scholars have for some time pointed out Woolf's concern with subject construction and the construction of the world, they have not analyzed how this interest appears on grammatical, rhetorical, syntactic, and figural levels. Accordingly, I want to explore two of Woolf's late novels, The Waves and Between the Acts, where, I suggest, Woolf's investigation of subject construction manifests itself primarily in linguistic terms, leading her to use constructs of language to critique traditional assumptions about unified selves and patriarchal systems. The titles of the two novels furnish initial clues about the linguistic nature of Woolf's query into subjects and society, for they may be read as signaling, among other things, how Woolf understands language to function both specifically within the texts and generally in formation and perception. The Waves takes its name from descriptions of the ocean in the vignettes that open each chapter. Interpolation of lyric meditations on nature within sections of narrative is one of Woolf's standard techniques, central to both The Years and To the Lighthouse. But in The Waves, Woolf instead prefaces each chapter with such an interlude, each containing four key images: the sun, birds, waves, and a garden. Three of these images then find direct corollaries within the chapters themselves: The sun moves from sunup to sunset and follows the trajectory of the narrative as it moves from childhood to old age; the garden resembles the scenic backdrop of the novel; and the birds' actions mimic those of the characters. The only image in the vignettes that scholars do not discuss as having an immediate correspondence elsewhere in the novel is the waves themselves. I would suggest, however, that the waves are also duplicated in the text - that they recur within the structure of Woolf's prose. There, linguistic flux and instability often coincide with moments when characters work to define themselves in language. In other words, "wavering" configurations of language betoken "wavering" ontological constructions, especially constructions of the self.(1) As in the case of The Waves, the title of Between the Acts suggests a myriad of references. Readers have taken the "Between" to refer to the characters' interaction "between the acts" of Miss La Trobe's play, to the space "between" the two world wars, to silence, and to Woolf's oblique emphasis on sentiments hidden "between" the lines of the characters' actual dialogue: Giles's melancholy agonies, Isa's countless frustrations, Lucy's prolonged soul searchings.(2) And the title, like "The Waves," also refers to the language in the novel. In this configuration, each moment of enunciation may be seen as an act of a play, so that accompanying those enunciations, those "Acts," is something that lies "Between" them, outside them, giving them shape and putting pressure on them. That something is not only silence - the absence of speech - but is also the form, the structure, by which consciousness, and thus subjectivity, is conceptualized. Such a process of shuttling "Between the Acts," then, may describe the construction of language. Simply, one of the primary "betweens" in the novel is the linguistic structure that shapes the acts of speech. Woolf's novels then elaborate on the implications of their titles as they explore how individuals must continually work to form themselves in a world devoid of linguistic and, by extension, philosophical correspondences. …
The Journal of the History of Childhood and Youth, 2010
Modernism/modernity, 2021