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. |
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Warner ' s second novel , Queechy ( 1852 ) , readdresses — even celebrates —
the self - reliant ideals that initially seem spoofed in The Wide , Wide World ,
making it clear that Warner ' s response to Emerson ' s ideas was far from simple
...
Warner ' s second novel , Queechy ( 1852 ) , readdresses — even celebrates —
the self - reliant ideals that initially seem spoofed in The Wide , Wide World ,
making it clear that Warner ' s response to Emerson ' s ideas was far from simple
...
36 ページ
sional privileging of intellect over heart , and of the self over family or community (
339 ) . Warner would not , however , reverse the equation ; in both The Wide ,
Wide World and Queechy it is clear that she believes in a blend . Her goal for
Ellen ...
sional privileging of intellect over heart , and of the self over family or community (
339 ) . Warner would not , however , reverse the equation ; in both The Wide ,
Wide World and Queechy it is clear that she believes in a blend . Her goal for
Ellen ...
48 ページ
Warner was known in her own time for both The Wide , Wide World and Queechy
, as well as for novels that followed , including The Hills of the Shatemuc , The
Old Helmet , Daisy , Diana , and My Desire . It is estimated that The Wide , Wide ...
Warner was known in her own time for both The Wide , Wide World and Queechy
, as well as for novels that followed , including The Hills of the Shatemuc , The
Old Helmet , Daisy , Diana , and My Desire . It is estimated that The Wide , Wide ...
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目次
Susan Warners Answer | 29 |
Emily Dickinson Thomas Wentworth | 50 |
The War of Susie King Taylor | 73 |
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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