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Desiree's Baby BY Kate Chopin is about the daughter of Monsieur and Madame Valmond�, who are wealthy French Creoles in antebellum Louisiana. Abandoned as a baby, Desiree was found by Monsieur Valmond� lying in the shadow of a stone pillar near the Valmond� gateway. She is courted by the son of another wealthy, well-known and respected French Creole family, Armand. They marry and have a child. People who see the baby have the sense it is different. Eventually they realize that the baby's skin is the same color as a quadroon (one-quarter African)-the baby has African ancestry. At the time of the story, this would have been considered a problem for a person believed to be white.
A Study Guide for Kate Chopin's "Desiree's Baby," excerpted from Gale's acclaimed Short Stories for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Short Stories for Students for all of your research needs.
A pretty book of tales drawn from life among the Creoles and Acadians of Louisiana. They represent with fidelity and spirit characters and customs unfamiliar to most readers ; they are admirably told, with just enough dialect for local color; and they can hardly fail to be very popular. Some of these stories are little more than croquis — just a brief incident of idea sketched in with a few rapid strokes and left to the imagination of the reader to be materialized, if we may so speak. Others are longer and more finished, but all are full of that subtle, alien quality which holds the Creole apart from the Anglo-Saxon — a quality we do not quite understand and can never reproduce, but which is full of fascination to us from the very fact that it is so unlike ourselves.
Series Editors: James Nagel, University of Georgia; Zack Bowen, University of Miami and Robert Lecker, McGill University The full range of literary traditions comes to life in the Twayne Critical Essays Series. Volume editors have carefully selected critical essays that represent the full spectrum of controversies, trends, and methodologies relating to each author's work. Essays include writings from the author's native country and abroad, with interpretations from the time they were writing, through the present day. Each volume includes: An introduction providing the reader with a lucid overview of criticism from its beginnings-illuminating controversies, evaluating approaches and sorting out the schools of thought The most influential reviews and the best reprinted scholarly essays A section devoted exclusively to reviews and reactions by the subject's contemporaries Original essays, new translations, and revisions commissioned especially for the series Previously unpublished materials such as interviews, lost letters and manuscript fragments A bibliography of the subject's writings and interviews.
SAT Words from Literature presents a new approach to scoring high on the Scholastic Aptitude Test. Rather than taking words directly from a dictionary and studying them, SAT Words from Literature presents vocabulary words that are found in classic literature in their original context. In this way, you will get a clear understanding of what the word can do in a sentence, what it might mean, and how it is used. Each vocabulary word is highlighted in the text and also reproduced in bold on the facing page, followed by the part of speech as it is used in the book, the pronunciation, an appropriate definition, and a synonym or antonym if applicable. Exercises that test your understanding of the vocabulary words are included at the end of the book. To make the exercises more manageable, words are arranged by chapters, or sections, so that there are not too many words in any one group. With this painless approach to learning vocabulary, you can boost your chances of acing the SAT.
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Maupassant and the American Short Story isolates and develops more fully than any previous study the impact of Maupassant's work on the writing of Ambrose Bierce, O. Henry, Kate Chopin, and Henry James. It introduces a new perspective to assess their canons, reviving the importance of many often-ignored stories and, in the cases of Maupassant and O. Henry, reasserting the necessity of studying such writers to understand the history of the genre. An important moment in the history of the short story occurred with the American misreading of Maupassant's use of story structure. At the turn of the century, writers such as Bierce and O. Henry seized upon the surprise-inversion form because Maupassant's translators promoted him as championing it. Only a few writers, such as James and Chopin, both of whom read Maupassant in French, appreciated his deft handling of form more fully. Their vision and the impact of Maupassant upon their fiction was largely ignored by later generations of writers who preferred to associate Maupassant and O. Henry with the &"trick ending&" story. This book details the origins and consequences of this misperception. The book further contributes to the study of the short-story genre. Through an adaptation of Aristotelian concepts, Richard Fusco proposes an original approach to short-story structure, defining and developing seven categories of textual formulas: linear, ironic coda, surprise-inversion, loop, descending helical, contrast, and sinusoidal. As a practitioner of all these forms, Maupassant established his mastery of the genre. By studying his use of form, the book asserts a major reason for his pivotal importance in the historical development of the short story.
Why can a "white" woman give birth to a "black" baby, while a "black" woman can never give birth to a "white" baby in the United States? What makes racial "passing" so different from social mobility? Why are interracial and incestuous relations often confused or conflated in literature, making "miscegenation" appear as if it were incest? Werner Sollors examines these questions and others in "Neither Black nor White yet Both," a fully researched investigation of literary works that, in the past, have been read more for a black-white contrast of "either-or" than for an interracial realm of "neither, nor, both, and in-between." From the origins of the term "race" to the cultural sources of the "Tragic Mulatto," and from the calculus of color to the retellings of various plots, Sollors examines what we know about race, analyzing recurrent motifs in scientific and legal works as well as in fiction, drama, and poetry. Copyright © Libri GmbH. All rights reserved.
When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City's then mayor, David Dinkins. Danson's use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America? In Racechanges: White Skin, Black Face in American Culture, Susan Gubar, who fundamentally changed the way we think about women's literature as co-author of the acclaimed The Madwoman in the Attic, turns her attention to the incendiary issue of race. Through a far-reaching exploration of the long overlooked legacy of minstrelsy--cross-racial impersonations or "racechanges"--throughout modern American film, fiction, poetry, painting, photography, and journalism, she documents the indebtedness of "mainstream" artists to African-American culture, and explores the deeply conflicted psychology of white guilt. The fascinating "racechanges" Gubar discusses include whites posing as blacks and blacks "passing" for white; blackface on white actors in The Jazz Singer, Birth of a Nation, and other movies, as well as on the faces of black stage entertainers; African-American deployment of racechange imagery during the Harlem Renaissance, including the poetry of Anne Spencer, the black-and-white prints of Richard Bruce Nugent, and the early work of Zora Neale Hurston; white poets and novelists from Vachel Lindsay and Gertrude Stein to John Berryman and William Faulkner writing as if they were black; white artists and writers fascinated by hypersexualized stereotypes of black men; and nightmares and visions of the racechanged baby. Gubar shows that unlike African-Americans, who often are forced to adopt white masks to gain their rights, white people have chosen racial masquerades, which range from mockery and mimicry to an evolving emphasis on inter-racial mutuality and mutability. Drawing on a stunning array of illustrations, including paintings, film stills, computer graphics, and even magazine morphings, Racechanges sheds new light on the persistent pervasiveness of racism and exciting aesthetic possibilities for lessening the distance between blacks and whites.