Margaret Fuller was born in Boston and pushed hard at a young age by a father who, when she was just four years old, recognized her high level of intelligence and sought to instill in her a thirst for knowledge. Her father, Timothy Fuller, a Unitarian rationalist, treated her "…not as a plaything, but as a living mind," she explained (Gornick, 2012, p. 2). While it is true she later wrote at length about how much she appreciated being induced by her intellectual father to study literature, philosophy and to learn languages even before her teens, she reportedly suffered "lifelong migraines, permanent insomnia and impaired eyesight" as a result of the intensity of the pedagogic pressure from her father (Gornick, p. 2). She also had a constant worry that "her intellectual output was insufficient," Gornick writes in The Nation; this was ironic because she was such an intellectual powerhouse and so given to voicing her august opinions that some of America's greatest literary icons (Nathaniel Hawthorne, for example) could barely stand to be in the same room with her (Cornick, p. 2).
Fuller's arguments for equal treatment of women
In her book Woman in the Nineteenth Century, Fuller contributed to the emerging feminist movement by arguing that "…a good world could only be achieved" when women were fully recognized "as citizens in their own right" (Cornick, p. 3). Fairness in the world could only come, Fuller asserted, through the "…intellectual and spiritual elevation of each and every human being" -- and this intellectual / spiritual achievement for women could only be manifested through "…a wealth...
Nathaniel Hawthorne Life Imitates Were all the literary works of Nathaniel Hawthorne compiled into a single manuscript, then appropriately filtered to include only works of prose and fiction, and if an attempt were then made to uncover a single motif spanning through the vast majority of the remaining text, it would read something like the following. A protagonist is haunted by a vague, strangely preternatural feeling of foreboding and doom that eventually
E. As waitresses.) II. Social Action Max Weber developed the concept of social action as a means of describing those actions that take into account actions and reactions of other people, then modifying that action based on those occurrences. Sociologists employ social action as a conceptual model as a means of determining how certain behaviors are modified in specific environments. When we evaluate the norms of social discourse and the customs that
John La Farge is often referred to as one of the most "innovative and versatile American artists of the nineteenth century" and "the most versatile American artist of his time," a true Renaissance spirit that was not afraid to experiment in different areas of paintings and with different techniques. One look at works such as "The Great Statue of Amida Buddha at Kamakura, Known as the Daibutsu, from the Priest's
From this came our insistence on the drama of the doorstep" (cited by Hardy 14-15). Grierson also notes that the early documentary filmmakers were concerned about the way the world was going and wanted to use all the tools at hand to push the public towards greater civic participation. With the success of Drifters, Grierson was able to further his ideas, but rather than directing other films, he devoted his time
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