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Margaret Tate: Calpurnia's mother, at age 41 a strict and traditional woman who wants nothing more than to turn her daughter into a respectable lady. Housewifery is all she wants for Calpurnia and she spends much of her time teaching Callie to sew, cook, and perform other ladylike antiquities. Harry Tate: Calpurnia's oldest brother. Of the six ...
The essay, originally a lecture delivered by Rich at a women's writer convention, emphasizes the need for re-visioning of old texts, renaming of the various aspects of women which have been distorted by a male point of view, and developing a new form of writing that is free of the haunting male gaze, of convention and propriety and of the ...
Later, the initial state portrayals of idealized femininity as strong and hard-working began to also include more traditional notions such as gentleness, caring and nurturing behaviour, softness, modesty and moral virtue, [89] [96]: 53 requiring good communist women to become "superheroes who excelled in all spheres", including working at jobs ...
Since the idea was first advanced by Barbara Welter in 1966, many historians have argued that the subject is far more complex and nuanced than terms such as "Cult of Domesticity" or "True Womanhood" suggest, and that the roles played by and expected of women within the middle-class, 19th-century context were quite varied and often contradictory.
Thoughts on the education of daughters: with reflections on female conduct, in the more important duties of life is the first published work of the British feminist Mary Wollstonecraft. Published in 1787 by her friend Joseph Johnson , Thoughts is a conduct book that offers advice on female education to the emerging British middle class .
Jacob Have I Loved is a 1980 coming of age novel for teenagers and young adults by Katherine Paterson.It won the annual Newbery Medal in 1981. The title alludes to the sibling rivalry between Jacob and Esau in the Bible, and comes from Romans 9:13 (quoting Malachi 1:2).
The title of the essay comes from Woolf's conception that "a woman must have money and a room of her own if she is to write fiction". [2] The narrator of the work is referred to early on: "Here then was I (call me Mary Beton, Mary Seton, Mary Carmichael or by any name you please—it is not a matter of any importance)". [9]
The date of authorship of the play is deeply uncertain. Scholars have estimated its origin anywhere from 1612 to 1627; [1] 1623–24 has been plausibly suggested. [2] The play was entered into the Stationers' Register on 9 September 1653 by the bookseller Humphrey Moseley, along with two other Middleton plays, More Dissemblers Besides Women and No Wit, No Help Like a Woman's.