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Thirty-three girlhood memoirs by a diverse group of Catholic women, including Sarah Bernhardt and Simone de Beauvoir, are the focus of this pioneering study.
Thirty-three girlhood memoirs by a diverse group of Catholic women, including Sarah Bernhardt and Simone de Beauvoir, are the focus of this pioneering study.
DIVDIVTracing her moral struggles to the day she accidentally took a sip of water before her Communion—a mortal sin—Mary McCarthy gives us eight funny and heartrending essays about the illusive and redemptive nature of memory/divDIV “During the course of writing this, I’ve often wished that I were writing fiction.”/divDIV Originally published in large part as standalone essays in the New Yorker and Harper’s Bazaar, Mary McCarthy’s acclaimed memoir begins with her recollections of a happy childhood cut tragically short by the death of her parents during the influenza epidemic of 1918./divDIV Tempering memory with invention, McCarthy describes how, orphaned at six, she spent much of her childhood shuttled between two sets of grandparents and three religions—Catholic, Protestant, and Jewish. One of four children, she suffered abuse at the hands of her great-aunt and uncle until she moved to Seattle to be raised by her maternal grandparents. Early on, McCarthy lets the reader in on her secret: The chapter you just read may not be wholly reliable—facts have been distilled through the hazy lens of time and distance./divDIV In Memories of a Catholic Girlhood, McCarthy pays homage to the past and creates hope for the future. Reminiscent of Nabokov’s Speak, Memory, this is a funny, honest, and unsparing account blessed with the holy sacraments of forgiveness, love, and redemption./divDIV This ebook features an illustrated biography of Mary McCarthy including rare images from the author’s estate./div/div
Writing Catholic Women examines the interplay of gender, race, ethnicity, nationality, and sexuality through the lens of Catholicism in a wide range of works by women writers, forging interdisciplinary connections among women's studies, religion, and late twentieth-century literature. Discussing a diverse group of authors, Jeana DelRosso posits that the girlhood narratives of such writers constitute highly charged sites of their differing gestures toward Catholicism and argues that an understanding of the ways in which women write about religion from different cultural and racial contexts offers a crucial contribution to current discussions in gender, ethnic, and cultural studies.
DIVDIVThe author of The Group, the groundbreaking bestseller and 1964 National Book Award finalist that shaped a generation of women, brings reminiscences of her girlhood to this intimate and illuminating memoir/divDIV How I Grew is Mary McCarthy’s intensely personal autobiography of her life from age thirteen to twenty-one./divDIV Orphaned at six, McCarthy was raised by her maternal grandparents in Seattle, Washington. Although her official birthdate is in 1912, it wasn’t until she turned thirteen that, in McCarthy’s own words, she was “born as a mind.” With detail driven by an almost astonishing memory recall, McCarthy gives us a masterful account of these formative years. From her wild adolescence—including losing her virginity at fourteen—through her eventual escape to Vassar, the bestselling novelist, essayist, and critic chronicles her relationships with family, friends, lovers, and the teachers who would influence her writing career./divDIV Filled with McCarthy’s penetrating insights and trenchant wit, this is an unblinkingly honest and fearless self-portrait of a young woman coming of age—and the perfect companion to McCarthy’s Memories of a Catholic Girlhood./divDIV This ebook features an illustrated biography of Mary McCarthy including rare images from the author’s estate./divDIV/div/div
Girlhood, interdisciplinary and global in source, scope, and methodology, examines the centrality of girlhood in shaping women's lives. Scholars study how age and gender, along with a multitude of other identities, work together to influence the historical experience. Spanning a broad time frame from 1750 to the present, essays illuminate the various continuities and differences in girls' lives across culture and region--girls on all continents except Antarctica are represented. Case studies and essays are arranged thematically to encourage comparisons between girls' experiences in diverse locales, and to assess how girls were affected by historical developments such as colonialism, political repression, war, modernization, shifts in labor markets, migrations, and the rise of consumer culture.
Catholic Sisters, Narratives of Authority, and the Native American Boarding Schools, 1847-1918 brings to light a largely unknown of history of the Catholic Native American Boarding Schools run by Catholic Sisters. Elisabeth C. Davis examines four schools, the first one established by Catholic women in the United States in 1847 and the last ending in 1918. Using previously unexplored archival material, Davis examines how Catholic Sisters established authority over their students and the local indigenous communities. In doing so, Davis sheds new light on the role of women during the eras of American expansion, settler imperialism, and the boarding school era.
The personal narratives of nine 20th-century Catholic female authors -- Monica Baldwin, Antonia White, Mary McCarthy, Mary Gordon, Mary Daly, Barbara Ferraro, Patricia Hussey, Karen Armstrong, and Patricia Hampl -- speak eloquently about the process of departure from the church and its institutions. This study explores each author's breaking of the taboo associated with women leaving their "proper place." It locates five themes at the heart of all of their narratives: reversal, boundary crossing, diaspora, renaming, and recycling. Debra Campbell grapples with the spirituality of departure depicted by all nine women, for whom the very process of leaving Catholic institutions is a Catholic enterprise. These narratives support the popular maxim that no one ever really leaves the church. In the final chapter, Campbell examines narratives of return, confirming the book's overarching theme that neither departure nor return is ever finished.
An overview of women's autobiography, providing historical background and contemporary criticism along with selections from a range of autobiographies by women. It seeks to provide a broad introduction to the major questions dominating autobiographical scholarship today.
Ingrid Bergman’s engaging screen performance as Sister Mary Benedict in The Bells of St. Mary’s made the film nun a star and her character a shining standard of comparison. She represented the religious life as the happy and rewarding choice of a modern woman who had a “complete understanding” of both erotic and spiritual desire. How did this vibrant and mature nun figure come to be viewed as girlish and naïve? Why have she and her cinematic sisters in postwar popular film so often been stereotyped or selectively analyzed, so seldom been seen as women and religious? In Veiled Desires—a unique full-length, in-depth look at nuns in film—Maureen Sabine explores these questions in a groundbreaking interdisciplinary study covering more than sixty years of cinema. She looks at an impressive breadth of films in which the nun features as an ardent lead character, including The Bells of St. Mary’s (1945), Black Narcissus (1947), Heaven Knows, Mr. Allison (1957), Sea Wife (1957), The Nun’s Story (1959), The Sound of Music (1965), Change of Habit (1969), In This House of Brede (1975), Agnes of God (1985), Dead Man Walking (1995), and Doubt (2008). Veiled Desires considers how the beautiful and charismatic stars who play chaste nuns, from Ingrid Bergman and Audrey Hepburn to Susan Sarandon and Meryl Streep, call attention to desires that the veil concealed and the habit was thought to stifle. In a theologically and psychoanalytically informed argument, Sabine responds to the critics who have pigeonholed the film nun as the obedient daughter and religious handmaiden of a patriarchal church, and the respectful audience who revered her as an icon of spiritual perfection. Sabine provides a framework for a more complex and holistic picture of nuns onscreen by showing how the films dramatize these women’s Christian call to serve, sacrifice, and dedicate themselves to God, and their erotic desire for intimacy, agency, achievement, and fulfillment.