Born into a Victorian Danish family, Karen Christentze Dinesen married her second cousin, a high-spirited and philandering baron, and moved to Kenya where she ran a coffee plantation, painted, and wrote. She later returned to Denmark, lived through the German occupation during World War II, and became a pivotal figure in Heretica, a major literary movement that flourished in Denmark after the war. By the time of her death, Dinesen was an international figure.
“I here and there o’heard a Coxcomb cry, Ah, rot—’tis a Woman’s Comedy.” Thus Aphra Behn ushers in a new era for women in the British Theatre (Sir Patient Fancy, 1678). In the hundred years that were to follow—and exactly those years that Curtain Calls examines—women truly took the theater world by storm.
Klondike Women is a compelling collection of historical photographs and first-hand accounts of the adventures, challenges, and disappointments of women on the trails to the Klondike gold fields. In the midst of a depression near the turn of the twentieth century, these women dared to act on the American dream.
When Count Guido Franceschini was tried by a Roman court in 1698 for the rape and murder of his young wife Pompilia, he had the church, the state, and “all of sensible Rome” supporting him. Their cynical mandate sprang from the traditional belief that in a patriarchal society the male should wield absolute power, including the power of life and death, over the female.
Traditional literary theory holds that women writers of the Restoration and eighteenth century produced works of limited range and value: simple tales of domestic conflict, seduction, and romance. Bringing a broad range of methodologies (historical, textual, post-structuralist, psychological) to bear on the works of Eliza Haywood, Charlotte Smith, Sarah Fielding, Fanny Burney, Jane Austen, and others. Fetter'd or Free?
The only source in which Sarah is mentioned is the Book of Genesis, which contains very few highly selective and rather enigmatic stories dealing with her. On the surface, these stories tell us very little about Sarah, and what they do tell is complicated and confused by the probability that it represents residue surviving from two different written sources based on two independent oral traditions.
An invaluable key to self-understanding, The Wounded Woman shows that by understanding the father-daughter wound, it is possible to achieve a fruitful, caring relationship between men and women, between fathers and daughters, a relationship that honors both the mutuality and the uniqueness of the sexes.
In this book Anaïs Nin speaks with warmth and urgency on those themes which have always been closest to her: relationships, creativity, the struggle for wholeness, the unveiling of woman, the artist as magician, women reconstructing the world, moving from the dream outward, and experiencing our lives to the fullest possible extent.
African American Studies
Emigration and Immigration
Media and Film Studies
Native American Studies
Prostitution and Sex Trade
Race and Ethnicity
Slavery and Slave Trade
Social Science Essays
Social Science, Methodology
Violence in Society