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A fictional autobiography of an 18-year-old who attempts to overcome hardship by way of her intellect and strong-mindedness, ‘Benigna Machiavelli’ tells the story of her brave battle to free her family from the control of their abusive father. Set in America at the turn of the 20th century, this important work follows Benigna’s journey to womanhood, and her courageous break free from society’s shackles. A compelling story, ́Benigna Machiiavelli ́ will surely delight anyone who is familiar with Charlotte Perkins Gilman's other works. Charlotte Perkins Gilman, also known as Charlotte Perkins Stetson (1860-1935), was an American feminist, writer, publisher, and advocate for social reform. She wrote novels, short stories, poetry, and nonfiction, and has served as a role model for future generations of feminists. She is best remembered for her semi-autobiographical short story, ‘The Yellow Wallpaper’ (1899), which she wrote after suffering a severe bout of postpartum depression. Other works of note include her feminist utopian trilogy, ‘Moving the Mountain’ (1911), ‘Herland’ (1915), and ‘With Her in Our Land’ (1916), while her non-fiction titles contain the pioneering ‘Women and Economics’ (1898), ‘The Home: Its Work and Influence’ (1903) and ‘Does a Man Support His Wife?’ (1915). Gilman also published a collection of poems addressing women’s issues, called ‘In This Our World’ (1993).
THE CHARLOTTE PERKINS GILMAN READER is an anthology of fiction by one of America's most important feminist writers. Probably best known as the author of "The Yellow Wallpaper," in which a woman is driven mad by chauvinist psychiatry, Gilman wrote numerous other short stories and novels reflecting her radical socialist and feminist view of turn-of-the-century America. Collected here by noted Gilman scholar Ann J. Lane are eighteen stories and fragments, including a selection from Herland, Gilman's feminist Utopia. The resulting anthology provides a provocative blueprint to Gilman's intellectual and creative production.
The focus of Carol Farley Kessler's work is how Charlotte Perkins Gilman developed as a writer and how she imagined a full-blown utopia for women. This book, which offers a fresh reading of Gilman's fiction, fills a void in Gilman scholarship, in feminist utopian scholarship, and in American literary studies. Kessler provides three journeys through Gilman's life: "A Biographical Exploration'' discusses facets of her life having a substantial impact upon her utopian writing. Four themes influence this development: the legacy of ancestral expectations; her relationships to father, mother, and daughter; the experience of two marriages and a divorce; and her friendships with women. Gilman and her "Prancing Young Utopia" presents three stages in the development of Gilman's utopian writing. First, she imagined neighborhoods-writing alternately fiction and nonfiction. Second, she tested in fiction the expression of utopian principles explained in her nonfiction. Finally, she created the whole society in her 1915 satire Herland. All of the foregoing writing represents Gilman's effort to imagine in fiction solutions that she recommended in her 1898 feminist treatise, Women and Economics. "Writing to Empower Living'' connects Gilman's biography to her utopian writing as both personal expression and public activism. The writing can be understood as "equipment for living." Ten hard-to-locate utopian short stories and chapters from four novels conclude the volume.
Did 19th-century American women have money of their own? To answer this question, Women, Money, and the Law looks at the public and private stories of individual women within the context of American culture, assessing how legal and cultural traditions affected women's lives, particularly with respect to class and racial differences, and analyzing the ways in which women were involved in economic matters. Joyce Warren has uncovered a vast, untapped archive of legal documents from the New York Supreme Court that had been expunged from the official record. By exploring hundreds of court cases involving women litigants between 1845 and 1875--women whose stories had, in effect, been erased from history--and by studying the lives and works of a wide selection of 19th-century women writers, Warren has found convincing evidence of women's involvement with money. The court cases show that in spite of the most egregious gender restrictions of law and custom, many 19th-century women lived independently, coping with the legal and economic restraints of their culture while making money for themselves and often for their families as well. They managed their lives and their money with courage and tenacity and fractured constructed gender identities by their lived experience. Many women writers, even when they did not publicly advocate economic independence for women, supported themselves and their families throughout their writing careers and in their fiction portrayed the importance of money in women's lives. Women from all backgrounds--some defeated through ignorance and placidity, others as ruthless and callous as the most hardened businessmen--were in fact very much a part of the money economy. Together, the evidence of the court cases and the writers runs counter to the official narrative, which scripted women as economically dependent and financially uninvolved. Warren provides an illuminating counternarrative that significantly questions contemporary assumptions about the lives of 19th-century women. Women, Money, and the Law is an important corrective to the traditional view and will fascinate scholars and students in women's studies, literary studies, and legal history as well as the general reader.
Taking in novelists from all over the globe, from the beginning of the century to the present day, this is the most comprehensive survey of the leading lights of twentieth century fiction. Superb breadth of coverage and over 800 entries by an international team of contributors ensures that this fascinating and wide-ranging work of reference will be invaluable to anyone with an interest in modern fiction. Authors included range from Joseph Conrad to Albert Camus and Franz Kafka to Chinua Achebe. Who's Who of Twentieth Century Novelists gives a superb insight into the richness and diversity of the twentieth century novel.
Featuring original contributions by scholars in the field of women's studies, this invaluable reference illuminates the lives and works of Maya Angelou, Kate Chopin, Joan Didion, Anne Tyler, Susan Sontag, Gertrude Stein, Zora Neale Hurston, Flannery O'Connor, Sylvia Plath, Anne Sexton, and others.
Charlotte Perkins Gilman offers the definitive account of this controversial writer and activist's long and eventful life. Charlotte Anna Perkins Stetson Gilman (1860–1935) launched her career as a lecturer, author, and reformer with the story for which she is best-known today, "The Yellow Wallpaper." She was hailed as the "brains" of the US women's movement, whose focus she sought to broaden from suffrage to economics. Her most influential sociological work criticized the competitive individualism of capitalists and Social Darwinists, and touted altruistic service as the prerequisite to both social progress and human evolution. By 1900, Gilman had become an international celebrity, but had already faced a scandal over her divorce and "abandonment" of her child. As the years passed, her audience shrunk and grew more hostile, and she increasingly positioned herself in opposition to the society that in an earlier, more idealistic period she had seen as the better part of the self. In her final years, she unflinchingly faced breast cancer, her second husband's sudden death, and finally, her own carefully planned suicide— she "preferred chloroform to cancer" and cared little for a single life when its usefulness was over. Charlotte Perkins Gilman presents new insights into the life of a remarkable woman whose public solutions often belied her private anxieties. It aims to recapture the drama and complexity of Gilman's life while presenting a comprehensive scholarly portrait.
Charlotte Perkins Gilman and a Woman's Place in America probes how depictions of space, confinement, and liberation establish both the difficulty and necessity of female empowerment. Turning Victorian notions of propriety and a woman's place on its ear, this essay collection studies Gilman's writings and the manner in which they push back against societal norms and reject male-dominated confines of space. The contributors present readings of some of Gilman's most significant works. By examining the settings in "The Yellow Wallpaper" and Herland, for example, the volume analyzes Gilman's construction of place, her representations of male dominance and female subjugation, and her analysis of the rules and obligations that women feel in conforming to their assigned place: the home. Additionally, this volume delineates female resistance to this conformity. Contributors highlight how Gilman's narrators often choose resistance over obedient captivity, breaking free of the spaces imposed upon them in order to seek or create their own habitats. Through biographical interpretations of Gilman's work that focus on the author's own renouncement of her "natural" role of wife and mother, contributors trace her relocation to the American West in an attempt to appropriate the masculinized spaces of work and social organization. --
During the Progressive Era in the United States, as teaching became professionalized and compulsory attendance laws were passed, the public school emerged as a cultural authority. What did accepting this authority mean for Americans’ conception of self-government and their freedom of thought? And what did it mean for the role of artists and intellectuals within democratic society? Jesse Raber argues that the bildungsroman negotiated this tension between democratic autonomy and cultural authority, reprising an old role for the genre in a new social and intellectual context. Considering novels by Abraham Cahan, Willa Cather, and Charlotte Perkins Gilman alongside the educational thought of John Dewey, the Montessorians, the American Herbartians, and the social efficiency educators, Raber traces the development of an aesthetics of social action. Richly sourced and vividly narrated, this book is a creative intervention in the fields of literary criticism, pragmatic philosophy, aesthetic theory, and the history of education.
Neglected American Women Writers of the Long Nineteenth Century, edited by Verena Laschinger and Sirpa Salenius, is a collection of essays that offer a fresh perspective and original analyses of texts by American women writers of the long nineteenth century. The essays, which are written both by European and American scholars, discuss fiction by marginalized authors including Yolanda DuBois (African American fairy tales), Laura E. Richards (children’s literature), Metta Fuller Victor (dime novels/ detective fiction), and other pioneering writers of science fiction, gothic tales, and life narratives. The works covered by this collection represent the rough and ragged realities that women and girls in the nineteenth century experienced; the writings focus on their education, family life, on girls as victims of class prejudice as well as sexual and racial violence, but they also portray girls and women as empowering agents, survivors, and leaders. They do so with a high-voltage creative charge. As progressive pioneers, who forayed into unknown literary terrain and experimented with a variety of genres, the neglected American women writers introduced in this collection themselves emerge as role models whose innovative contribution to nineteenth-century literature the essays celebrate.