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Seminar paper from the year 2009 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,7, Ruhr-University of Bochum (Englisches Seminar), course: "You Nothing But Trash", language: English, abstract: Gender stereotypes and roles are present in the people's mind and can be found almost everywhere in daily life. Children and adults are confronted and influenced by those stereotypes, most of the time internalize them and behave according to their gender roles. Men and women perform different roles which are based on nothing more than their biological gender. Although these roles cannot be referred to each individual, the majority of people live out their lives in accordance to these pervasive roles. To sum it up, gender is a central and "organizing category in social life" (Warren 7). Women anthropologists from the 1920s up to the present time focused their research on Western women's issues and examined women's settings. Their result is that mainly the domestic sphere, child rearing, health and nutrition are the settings or the tasks ascribed to women. In part, this is - according to the anthropologists - a consequence of expectations associated with the society's home territory and with Western anthropologist's cultural assumptions. Additionally, the societies which were studied by these anthropologists were often highly gender-segregated and numerous roles and activities could be taken by one gender and were banned to the other (Warren 16). To put in other words, most societies are "husband-centered" (Warren 14) and some of the societies studied "to a degree even greater than is customary in Western Europe and America". (ibid.) The novel "Bastard Out of Carolina" written by Dorothy Allison deals with gender stereotypes and tells the story of the so called 'white trash'-girl Ruth 'Bone' Boatwright and her family. Allison critiques in the novel not only two of the most damaging bourgeois myths about "white trash" - illegitima
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,7, Ruhr-University of Bochum (Englisches Seminar), course: “You Nothing But Trash“, language: English, abstract: Gender stereotypes and roles are present in the people’s mind and can be found almost everywhere in daily life. Children and adults are confronted and influenced by those stereotypes, most of the time internalize them and behave according to their gender roles. Men and women perform different roles which are based on nothing more than their biological gender. Although these roles cannot be referred to each individual, the majority of people live out their lives in accordance to these pervasive roles. To sum it up, gender is a central and “organizing category in social life” (Warren 7). Women anthropologists from the 1920s up to the present time focused their research on Western women’s issues and examined women’s settings. Their result is that mainly the domestic sphere, child rearing, health and nutrition are the settings or the tasks ascribed to women. In part, this is - according to the anthropologists - a consequence of expectations associated with the society’s home territory and with Western anthropologist’s cultural assumptions. Additionally, the societies which were studied by these anthropologists were often highly gender-segregated and numerous roles and activities could be taken by one gender and were banned to the other (Warren 16). To put in other words, most societies are “husband-centered” (Warren 14) and some of the societies studied “to a degree even greater than is customary in Western Europe and America”. (ibid.) The novel “Bastard Out of Carolina” written by Dorothy Allison deals with gender stereotypes and tells the story of the so called ‘white trash’-girl Ruth ‘Bone’ Boatwright and her family. Allison critiques in the novel not only two of the most damaging bourgeois myths about “white trash” - illegitimacy and incest – but also the ideology of motherhood emphasizing a socially constructed gender system that cuts across social classes (Baker).
A profound portrait of family dynamics in the rural South and “an essential novel” (The New Yorker) “As close to flawless as any reader could ask for . . . The living language [Allison] has created is as exact and innovative as the language of To Kill a Mockingbird and The Catcher in the Rye.” —The New York Times Book Review The publication of Dorothy Allison’s Bastard Out of Carolina was a landmark event that won the author a National Book Award nomination and launched her into the literary spotlight. Critics have likened Allison to Harper Lee, naming her the first writer of her generation to dramatize the lives and language of poor whites in the South. Since its appearance, the novel has inspired an award-winning film and has been banned from libraries and classrooms, championed by fans, and defended by critics. Greenville County, South Carolina, is a wild, lush place that is home to the Boatwright family—a tight-knit clan of rough-hewn, hard-drinking men who shoot up each other’s trucks, and indomitable women who get married young and age too quickly. At the heart of this story is Ruth Anne Boatwright, known simply as Bone, a bastard child who observes the world around her with a mercilessly keen perspective. When her stepfather Daddy Glen, “cold as death, mean as a snake,” becomes increasingly more vicious toward her, Bone finds herself caught in a family triangle that tests the loyalty of her mother, Anney—and leads to a final, harrowing encounter from which there can be no turning back.
   This vital and engaging collection expands and builds upone Women's Studies Quarterly's groundbreaking 1995 volume, honored with an award from the Council of Editor's of Learned Journals. The poetry, testimony, analysis, history, and theory collected here, which includes works by Patti See and Janet Zandy, not only suggests connective threads for understanding working-class experiences and literatures but also explores intersections of race, ethnicity, gender, sexual orientation, and class. Such explorations are arranged around the issue's four themes: family, education, the workplace, and identity. From South African sexual relationships, to teaching Medieval studies to working-class students, to the politics of a deaf workers' publication, to poems written in prison, this issue testifies to the growing depth and scope of working-class studies. Essential reading for all interested in the field, this issue offers an anvaluable framework for discussing working-class literature, culture, and artistic production, while also attending to the material conditions of working class peoples' lives.
Bastard Out of Carolina, nominated for the 1992 National Book Award for fiction, introduced Dorothy Allison as one of the most passionate and gifted writers of her generation. Now, in Two or Three Things I Know for Sure, she takes a probing look at her family's history to give us a lyrical, complex memoir that explores how the gossip of one generation can become legends for the next. Illustrated with photographs from the author's personal collection, Two or Three Things I Know for Sure tells the story of the Gibson women -- sisters, cousins, daughters, and aunts -- and the men who loved them, often abused them, and, nonetheless, shared their destinies. With luminous clarity, Allison explores how desire surprises and what power feels like to a young girl as she confronts abuse. As always, Dorothy Allison is provocative, confrontational, and brutally honest. Two or Three Things I Know for Sure, steeped in the hard-won wisdom of experience, expresses the strength of her unique vision with beauty and eloquence.
Trash, Allison's landmark collection, laid the groundwork for her critically acclaimed Bastard Out of Carolina, the National Book Award finalist that was hailed by The New York Times Book Review as "simply stunning...a wonderful work of fiction by a major talent." In addition to Allison's classic stories, this new edition of Trash features "Stubborn Girls and Mean Stories," an introduction in which Allison discusses the writing of Trash and "Compassion," a never-before-published short story. First published in 1988, the award-winning Trash showcases Allison at her most fearlessly honest and startlingly vivid. The limitless scope of human emotion and experience are depicted in stories that give aching and eloquent voice to the terrible wounds we inflict on those closest to us. These are tales of loss and redemption; of shame and forgiveness; of love and abuse and the healing power of storytelling. A book that resonates with uncompromising candor and incandescence, Trash is sure to captivate Allison's legion of readers and win her a devoted new following.
In The Angelic Mother and the Predatory Seductress, Ashley Craig Lancaster examines how converging political and cultural movements helped to create dualistic images of southern poor white female characters in Depression-era literature. While other studies address the familial and labor issues that challenged female literary characters during the 1930s, Lancaster focuses on how the evolving eugenics movement reinforced the dichotomy of altruistic maternal figures and destructive sexual deviants. According to Lancaster, these binary stereotypes became a new analogy for hope and despair in America's future and were well utilized by Depression-era politicians and authors to stabilize the country's economic decline. As a result, the complexity of women's lives was often overlooked in favor of stock characters incapable of individuality. Lancaster studies a variety of works, including those by male authors William Faulkner, Erskine Caldwell, and John Steinbeck, as well as female novelists Mary Heaton Vorse, Myra Page, Grace Lumpkin, and Olive Tilford Dargan. She identifies female stereotypes in classics such as To Kill a Mockingbird and in the work of later writers Dorothy Allison and Rick Bragg, who embrace and share in a poor white background. The Angelic Mother and the Predatory Seductress reveals that these literary stereotypes continue to influence not only society's perception of poor white southern women but also women's perception of themselves.
"Razor sharp, angry, and full of passion, Dorothy Allison stands her ground and refuses to leave any of the hard stuff behind. Whether writing about her dirt-poor Southern childhood, its brutalities and its love, or her lesbian lust--her outlaw sexuality--her poetry is cheeky, touching, and on target as she speaks the truth to the women she loves."--BOOK JACKET.
The first book of its kind, Doubly Erased is a comprehensive study of the rich tradition of LGBTQ themes and characters in Appalachian novels, memoirs, poetry, drama, and film. Appalachia has long been seen as homogenous and tradition-bound. Allison E. Carey helps to remedy this misunderstanding, arguing that it has led to LGBTQ Appalachian authors being doubly erased—routinely overlooked both within United States literature because they are Appalachian and within the Appalachian literary tradition because they are queer. In exploring motifs of visibility, silence, storytelling, home, food, and more, Carey brings the full significance and range of LGBTQ Appalachian literature into relief. Dorothy Allison's Bastard Out of Carolina and Alison Bechdel's Fun Home are considered alongside works by Maggie Anderson, doris davenport, Jeff Mann, Lisa Alther, Julia Watts, Fenton Johnson, and Silas House, as well as filmmaker Beth Stephens. While primarily focused on 1976 to 2020, Doubly Erased also looks back to the region's literary "elders," thoughtfully mapping the place of sexuality in the lives and works of George Scarbrough, Byron Herbert Reece, and James Still.