Women as Seen in Trifles There were a lot of outstanding female literary figures that saw emergence during the 19th century. One of the many women writers that became known was Susan Glaspell. Glaspell’s works saw her struggle with arguments such as gender and differences and other related concerns, thus making it as one of the 19th century’s legacy. In the middle of an artistic revival and renaissance, Glaspell together with her beloved husband, George Cook, started to write about the issues they were seeing. But in 1915, she started writing the Provincetown Players and saw the involvement of other female writers like Kate Chopin and Fanny Fern to the making of one-act play, the Trifles.
The non-fiction text “Women and Journeys” is from 1992, and is written by Mary Morris. The author lives in New York and has the experience of many journeys, which she uses as an inspiration in both her fiction and nonfiction publications. In this essay, she’s telling about women’s roles in their own lives, and how they for years have been waiting at home for their man instead of travelling. In this text I will comment and analyze it, and furthermore focus on gender differences. Marry Morris begins the text by quoting something clever that John Gardner once said: “ There are only two plots in all of literature: you go on a journey or the stranger comes to town.” For so many years women had been denied to travel.
Because Pastan is known for writing stories and poems regarding family life, domesticity, motherhood, the female experience, aging, death, loss and the fear of loss, as well as the fragility of life and relationships, it is no surprise that this one including many of the previously mentioned topics. To name a few, motherhood, the female experience and relationships were the three most relevant topics I saw in the poem. These three topics are extremely important, because not only are they significant in this story, but in all families across the globe. I also noticed the historical importance of this poem, as back during the 1970’s, few people considered being a wife and mother a full-time job, and it is not uncommon for a woman who take on both of these roles to feel overworked and unappreciated. Interestingly, Marks was written in 1978, which took place during the March for the Equal Rights Amendment.
Conclusions As I noticed above, the re-performance of Alcman’s partheneia continued until the 2nd century B.C. in Sparta. Alcman’s poetry never stopped to be of an oral kind, thus to be composed-in-performance at least in his hometown. The tradition of partheneia also continued, as we can see from the work of Hellenistic women poets and from Hellenistic partheneia that are classified as Lyrica Adespota. As we observed, Hellenistic women poets did not imitate Alcman’s poetry.
Introduction: Houshang Golshiri and his masterwork Shazdeh Ehhtejab (Prince Ehtejab) Similar to other branches of art, literature has been under the domination of male-centered ideology. Great masterpieces have been most of the times known to be written by men. Even those who have written stories about women conflict are depicting women from a man 's point of view, either a main male character or the writer himself. The famous modern Persian writer Houshang Golshiri, who wrote many fictions about women struggle, is not exclusive to this fact and introduces women mostly through a male narrative’s descriptions. His masterwork, Shazdeh Ehtejab (Prince Ehtejab), involves four important female characters that have been introduced to the reader through dissimilarities and resemblances that the narrator, Khosro Ehtejab, presents.
ORANGE MADRIGALS A COLLECTION OF POEMS BY ARUN & SUNITHA But, if a miracle makes it so that they’re the same as yours… Preface Orange Madrigals is a collection of hundred co-authored poems. The book brings together a set that contributed to a correspondence between its authors – a correspondence that resulted in creating a soulful persona which is at once their lived life and something absolutely not. The poems form an intimate exchange sometimes; sometimes melt into androgynous monologues, or recreate moments from individual memories and dreams closely considered by the other. They fall alternately like exchanges of a mind with the world through the filter of another mind or as exchanges of a mind to the other impeded
It’s been only in the past few decades that these travel texts have started getting much critical attention from the scholars which has resulted in travel texts being raised to the genre of travel literature. Travel writings have shaped and influenced people’s perception about the foreign lands from the very beginning. Travel writers in all the ages have offered a remarkable insight into the culture and societies visited by them. Travel accounts are not just windows on societies visited but they are the mirrors that
There has been a long tradition of discourse in India related to the tribal people, dating from pre-colonial times, through the colonial period, to the contemporary era, which have largely determined their historical, political and social status in the Indian nation. It was during the colonial period that the academic study of the tribes of India was undertaken systematically. The socio-cultural and historical marginalization of the tribes that had begun in the pre-colonial periods was also strengthened through the colonial discourses on race and culture. Historical discourse has also been largely silent on the subject of tribal history, which now is being resurrected from these silent spaces. Literature is another area of discourse that has sought to represent tribal life through various genres and languages.
“Is a pen a metaphorical ‘penis’?” (Gilbert and Gubar 2007,p3). Many critics in the western literary tradition gave had a similar belief for a long time now, before the feminist literary tradition came into being. Gilbert and Gubar also quote R. Dixon as “the artist’s most essential quality is masterly execution, which is a kind of a male gift and especially marks off men from women, the begetting of one’s thought on paper, on verse, or whatever the matter is”. (R.W.Dixon,1886). The poet’s pen has been for a long time continued to be seen as a figurative and even a literal penis.
Fisher and Frey (2012, p.8) stated that the practice of close reading is not a new one and in fact has existed for many decades as the practice of reading a text for a level of detail not used in everyday living. In this study, the focus is to see the connection of the texts and the contexts by taking into consideration the manner in which the texts were produced, how they were written and the prevailing cultural conditions that might have influenced the authors and their works. The 20th century manuscripts need to be close-read to operate cautious observations on the making of these novels and how they manifest the social, political, economic and cultural situations widespread during that