However if the responder were to read Fay Weldon’s Letters to Alice on first reading Jane Austen, the connections between the two would shape and then reshape the responder’s understanding of both texts. The two texts are connected most obviously through Weldon’s commentary and analysis of Austen’s writing and social and historical context. However the two texts are also connected through their didactic purpose, examination of values, use of epistles and their female author’s status and feminist messages. Whilst all of these connections do enrich each text, it is to a limited extent as both texts also work in isolation. Aunt Fay writes to her niece Alice in the hope of teaching her about Austen and her writing and what better way to do that than by direct reference to Austen’s most successful text, Pride and Prejudice?
Her narrative reflects a sentimental domestic novel, written for women that stressed home, family. “In telling her life story to women who would listen, Jacobs drew inspiration on women writers where contemporaries and even friends, including well-known writers Lydia Maria Child and Fanny Fern (her employer’s sister in law), but she was also influenced by the popularity of Harriet Beecher Stowe’s Uncle Tom’s Cabin, which appeared in 1851” (Jacobs 819). Jacobs modeled her narrative on the sentimental domestic novel. Douglas cautiously worked within the genre for white audiences. “Both of them, found ways to individualized their narratives.
John Phillips (partner at McClur’s) convinced Ida to write an outline to show to McClure. McClure accepted the Ida’s idea. After many years of researching, Ida Tarbell had a detailed analysis of Standard Oil’s monopolies; which appeared in McClure's Magazine, beginning in November of 1902. Later to be published as a two-volume book in 1904. To Ida’s dismay, she was labeled a "muckraker" by President Theodore Roosevelt.
! Although on the surface, the narrator in the short story, The Yellow Wallpaper, may seem like a ﬁctional character only developed to be interesting to an audience, many comparisons can be drawn between the narrators life and the life of the author Charlotte Perkins Gilman. Similarities can be drawn between the diagnosis of mental illness, the methods of treatment received, and relationships present in both her life, and the life of her character. All of the experiences of her life came to develop her feminist style of writing, which she is still well known for
Mourning Dove was the pen name of Christine Quintasket, an Interior Salish woman who collected tribal stories among Northern Plateau peoples in the early twentieth century. She described centuries-old traditions with the authority of first-hand knowledge, and also wrote a novel based on her experiences. Like her African-American contemporary Zora Neale Hurston (1891-1960), Mourning Dove’s reputation as a female ethnographer and writer has grown steadily over the past few decades. Her novel, Cogewea, is the first known published novel by a Native American woman. Growing up at Kettle Falls One day between 1884 and 1888, according to family lore, a woman of Lakes and Colville ancestry named Lucy Stukin (d. 1902) was canoeing across the Kootenai River in north Idaho when she went into labor.
Early on in her marriage to George, Martha got down in the trenches and joined him at army camp which started “a pattern that was to last throughout the war” (Roberts 87). While she wasn’t the only wife to join her husband at army camp, Lucy Knox, wife of Henry Knox, and Catharine “Kitty” Greene, wife of Nathanial Greene, were often at camp, she was one of the favorites. According to Roberts, because Martha was the wife of a one of the greatest traitors to the Crown she was in considerable danger yet, “she remained the most composed, the most ready to accept unpleasant conditions, the most sympathetic to the soldiers” (87). It was Martha’s sympathy that allowed her to see the need to bolster troop morale and that one of the most effective ways to help them would be to provide decent clothing. In the fall and early winter of 1776, she turned their Mount Vernon home into a fabric factory.
Appreciation of two poems of Oodgeroo Noonuccal Have your perceptions and understandings of the traditional indigenous way of life in Australia being challenged by poems? Have you gained a broader knowledge of what Australia was like before the arrival of white people? One of the most influential indigenous poets is Oodgeroo Noonuccal. She tried to challenge and to inform her readers and her poetry is definitely suitable for inclusion in the new anthology of indigenous poetry which will be published in 2014. Oodgeroo Noonuccal was born of North Stradbroke Island, near Brisbane in 1920.
“While we snuggled down there out in the wind, she learned a score of new words. She was quick and very eager” (19). The relationship between Jim and Antonia grows stronger as they start to learn from each other. Antonia really wants to learn more about America and its language and Jim takes on the role of teaching her the difficult task. Although Jim is the one teaching her, Antonia also teaches him a lot of aspects he hasn’t yet experienced in life.
When analyzing Isabel Allende's and Gabriel Garcia Marquez's lives, parallels between them become increasingly obvious, thus the rationalization for some of the similarities that are observed between their historically fictional novels The House of the Spirits and Chronicle of a Death Foretold, respectively. One of the most obvious parallels is the influence of women on both of them. Allende dedicates The House of the Spirits "to my mother, my grandmother and all the other extraordinary women of this story," showing feminine influence, and Marquez grew up in a household with his grandmother and numerous aunts, therefore he would also show the influence of women; also, both novelists are from Latin and South America, thus they both would most likely show literary elements that are characteristic of that geographic area. Because of their similar influences, the theme of 'the great mental, and sometimes physical, strength of women' is prominent in both of their works. When analyzing this theme in both novels, the two most distinct semblances are: in both novels at least one female character has the sagacity to possess some kind of preternatural ability, and women have the strength to endure a marriage without loving their suitor.
Using elements familiar to audiences of romances through the ages, from the moody and wind-swept novels of the Brontë sisters in the 1840s to the inexpensive entertainments of today, Rebecca stands out as a superb example of melodramatic storytelling. Modern readers considered this book a compelling page-turner, and it is fondly remembered by most who have read it. The story concerns a woman who marries an English nobleman and returns with him to Manderley, his country estate. There, she finds herself haunted by reminders of his first wife, Rebecca, who died in a boating accident less than a year earlier. In this case, the haunting is psychological, not physical: Rebecca does not appear as a ghost, but her spirit affects nearly everything that takes place at Manderley.