¶ … seeds of gender equality, however elusive such a thing may continue to be, were surely planted by the frustration of women confined to the roles crafted by longstanding patriarchy. Herein, women inclined toward any level of independent thought or transcendent desire were stunted by the obligations of sociological appropriateness. Women were strictly daughters, wives and mothers. Certainly, in a world were men pontificated abstractly, while affording little time for emotional intimacy with family, women were the cross-bearers of domestic responsibility and the perpetuation of love. There was little time or space beyond that in which a woman could propose to be herself, thinking and acting upon her own desires. Virginia Woolf's...
One of Woolf's first watershed devices was the very simple assertion of a female protagonist, or as is the case in some of her most significant works, multiple female protagonists, whose willful uniqueness highlighted an otherwise dull and superficial universe. But more importantly, she approached her heroines from an inside out perspective. It is consistently the mind and its inner-workings that Woolf provides focus on when designing the female role-models littering her literature. That time and space, which women overcome by the burdens of patriarchal society found so elusive, was plenteous and well utilized within the confines of the mind. In "Mrs. Dalloway" and "To the Lighthouse," Woolf contrasts two pairs of women who, while serving as archetypal antitheses on an outwardly societal level, were remarkably similar in their tenacious pursuit of individualism within their respective theatres. To the left, Lily Briscoe and Mrs. Killman have chosen consciously and outwardly to live by their own rules, thus defining them…
In addition, Lett (1987) emphasizes that, "Cultural materialists maintain that a society's modes of production and reproduction determine its social structure and ideological superstructure, but cultural materialists reject the metaphysical notion of Hegelian dialectics that is part of dialectical materialism" (80). Indeed, according to Bradshaw (1993), "the British cultural materialist knows that the 'radical,' 'subversive,' 'marginal,' or 'dissident' perspective is always superior (9). This author maintains that British cultural
" Emecheta uses metaphors, similes and allusions with appropriate timing and tone in this book, and the image of a puppet certainly brings to mind a person being controlled, manipulated, made to comply instantly with any movement of the controlling hand. In this case Ego seems at the end of her rope -- the puppet has fallen nearly to the floor and is dangling helplessly. The Emecheta images and metaphors are
and, as no two individuals can have had completely identical experiences, it follows that no two individuals can view events in exactly the same way. Thus, they will make different choices, and choose different course of action. So important to Michener are all the minute events that go to make up a life, that prior to undertaking a new narrative, he sets himself the enormous task of finding out everything
American Lit Definition of Modernism and Three Examples Indeed, creating a true and solid definition of modernism is exceptionally difficult, and even most of the more scholarly critical accounts of the so-called modernist movement tend to divide the category into more or less two different movements, being what is known as "high modernism," which reflected the erudition and scholarly experimentalism of Eliot, Joyce, and Pound, and the so-called "low modernism" of later
individuals have struggle accepting change. It takes quite some time for one to adapt to this. For regions of a country or even whole nations, change may take decades or possibly centuries. Edgar Lawrence Doctorow can certainly relate to this Born in 1931, Doctorow (aptly named after EL Poe) has lived through tumultuous changes and grew to see America converging from one of exclusive races and racism into one that
Ginzburg and Davis A Look into Microhistory Thanks to notable figures like Carlo Ginzburg when he first emerged onto to the scene in the mid-1970's, micro-history has seen long-lasting popularity. The 1970's heralded the emergence of micro-history as it coincided with post-modernism, another historiographical development, a period that deeply challenged the profession and brought it to another intellectual level of exploration. Since micro-history relies on narrative, there are no historian-driven "Why?" questions,
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