Separate Spheres No More: Gender Convergence in American Literature, 1830-1930Although they wrote in the same historical milieu as their male counterparts, women writers of the 19th- and early 20th-centuries have generally been "ghettoized" by critics into a separate canonical sphere. These original essays argue in favor of reconciling male and female writers, both historically and in the context of classroom teaching. While some of the essays pair up female and male authors who write in a similar style or with similar concerns, others address social issues shared by both men and women, including class tensions, economic problems, and the Civil War experience. Rather than privileging particular genres or certain well-known writers, the contributors examine writings ranging from novels and poetry to autobiography, utopian fiction, and essays. And they consider familiar figures like Harriet Beecher Stowe, Emily Dickinson, and Ralph Waldo Emerson alongside such lesser-known writers as Melusina Fay Peirce, Susie King Taylor, and Mary Gove Nichols. Each essay revises the binary notions that have been ascribed to males and females, such as public and private, rational and intuitive, political and domestic, violent and passive. Although they do not deny the existence of separate spheres, the contributors show the boundary between them to be much more blurred than has been assumed until now. |
この書籍内から
検索結果1-3 / 22
96 ページ
Ruth Hall was marketed as an autobiographical novel and roman à clef as soon
as the vengeful editor from the Olive ... Like Fern as journalist , Ruth Hall protests
its genre and separating rhetorical categories from within — and not only by ...
Ruth Hall was marketed as an autobiographical novel and roman à clef as soon
as the vengeful editor from the Olive ... Like Fern as journalist , Ruth Hall protests
its genre and separating rhetorical categories from within — and not only by ...
97 ページ
At boarding school , Ruth shares a room with “ four strange girls ” who ridicule
her for being an old maid . Ruth only gains positive attention on composition day .
And significantly , at this stage Ruth sees her power as deriving not from her love
...
At boarding school , Ruth shares a room with “ four strange girls ” who ridicule
her for being an old maid . Ruth only gains positive attention on composition day .
And significantly , at this stage Ruth sees her power as deriving not from her love
...
98 ページ
( 73 ) After the third - person narrator locates Ruth in the city , another shift into
dialogue shows her again subject to intrusive gazes . A “ low - browed , pigfaced ,
thick - lipped fellow ” and his companion , Jim , muse on Ruth ' s “ nice form ” and
...
( 73 ) After the third - person narrator locates Ruth in the city , another shift into
dialogue shows her again subject to intrusive gazes . A “ low - browed , pigfaced ,
thick - lipped fellow ” and his companion , Jim , muse on Ruth ' s “ nice form ” and
...
レビュー - レビューを書く
レビューが見つかりませんでした。
目次
Susan Warners Answer | 29 |
Emily Dickinson Thomas Wentworth | 50 |
The War of Susie King Taylor | 73 |
著作権 | |
他の 11 セクションは表示されていません
他の版 - すべて表示
多く使われている語句
American appears argues authors become body Carrie century character Child Civil claims Colored Common cooperative critics cultural death Dickinson discourse domestic early effect Emerson essay example experience fact feel female feminine feminist fiction figure force gender hand Higginson human husband ideal imperialism influence interest invasion labor later letters literary literature lives look male marriage Mary means moral mother move narrative narrator nature never nineteenth nineteenth-century notes novel Peirce physical poem political position published Queechy race reader reform relations response rhetoric role Ruth seems sense sentimental separate spheres sexual social society space stage story suggests Taylor theater things tion turn voice Wide woman women women writers writing York young