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Translated by Robert Weis Travelers from Europe, North, and South America often perceive Mexico as a mythical place onto which they project their own cultures’ desires, fears, and anxieties. Gómez argues that Mexico’s role in these narratives was not passive and that the environment, peoples, ruins, political revolutions, and economy of Mexico were fundamental to the configuration of modern Western art and science. This project studies the images of Mexico and the ways they were contested by travelers of different national origins and trained in varied disciplines from the nineteenth to the twenty-first century. It starts with Alexander von Humboldt, the German naturalist whose fame sprang from his trip to Mexico and Latin America, and ends with Roberto Bolaño, the Chilean novelist whose work defines Mexico as an “oasis of horror.” In between, there are archaeologists, photographers, war correspondents, educators, writers, and artists for whom the trip to Mexico represented a rite of passage, a turning point in their intellectual biographies, their scientific disciplines, and their artistic practices.
An investigation into the societal impact of intelligent, high-achieving women who are honing traditional homemaking skills traces emerging trends in sophisticated crafting, cooking and farming that are reshaping the roles of women.
Encounter the fullness of God’s grace, the power of His promises, and the beauty of His faithfulness—all through the life of one woman: Esther. In a time when the world around her seemed to crumble, a young Hebrew girl found herself in a unique position to help save her people—and to encounter the greatness of our ever-faithful God. In Summoned, you’ll enter the story of Esther—her calling, pain, and role in God’s ultimate plan for salvation—and see how God is always working in the lives of His people, even when He seems distant. Through this 8-week, interactive study, you’ll develop a deeper appreciation for God’s Word and begin to see that stepping out in faith for His glory is often the first step to encountering His redeeming love.
Complemented by four hundred full-color photographs, a visual feast, celebrating everything that is wonderful about life and the domestic arts, explains how to apply a wide variety of practical skills in a creative way to transform the home, covering everything from needlework and cooking to gardening and homemaking.
The term "domesticity" may bring to mind cooking, cleaning, and tranquil evenings at home. During the last few decades, however, American domesticity has become ever more politicized as third-wave feminists, conservative critics, and others debate the very meaning of home and family. Despite this new wave of debate, the home, particularly the kitchen, is comfortable territory for the consolidation of issues of gender, space, marketplace, community, and technology in twentieth century literature. This work looks closely at a wide variety of southern domestic literature, focusing particularly on the role of the family kitchen as a driving force in the narratives of Ellen Glasgow, Eudora Welty, Lee Smith, and Toni Morrison. Topics include the overtones of isolation and the almost claustrophobic third-person narration of Glasgow's Virginia and Life and Gabriella; the communal kitchen and its role in defining the sexual discourse of Welty's Delta Wedding; the unification of national railway lines and its consequences for the traditional Appalachian kitchen in Smith's Oral History and Fair and Tender Ladies; and the lasting effects of slavery on the "haunted domesticity" of the African-American kitchen in Morrison's Jazz, Paradise, and Love.
This book addresses the paucity of robust reflections on ethics as a distinct field of experience in recent Black Studies scholarship. Following the intervention of the Afro-Pessimist school of thought—spearheaded by the likes of Frank Wilderson III and Jared Sexton—there has been much needed attention brought to the totalizing nature of Black political degradation and vulnerability in America. However, an in depth reflection on the ethical implications of this political positionality is lacking and in places even implied to not be possible. Black Hospitality conceptualizes what the author argues is the aporetic experience of Black ethical life as both excessively vulnerable within and yet also ultimately hostile to an anti-black political ontology. Engaging the work of scholars such as Fred Moten, Saidiya Hartman, Nahum Chandler, Jacques Derrida, Theodor Adorno, and Toni Morrison, along with the concepts of fugitivity, Black sociality, im-possibility, and paraontology, Black Hospitality insists that Black ethical life provides a necessary broadening of the contours of Black experience.
Impossible Women fills a critical gap in queer theory by spotlighting representations of lesbian sexuality in nineteenth- and twentieth-century American literature. Reading through the lens of feminist and psychoanalytic theory, Valerie Rohy considers texts by Nathaniel Hawthorne, Kate Chopin, Henry James, Zora Neale Hurston, Ernest Hemingway, and Elizabeth Bishop.Addressing American ideologies of reproduction and representation, Impossible Women suggests that lesbian figures are made to symbolize both the unrepresentable and the failures of meaning inherent in language. Rohy traces the ways lesbian sexuality—relegated to the domain of the ineffable, yet endlessly subject to inscription—appears in tropes of transference and displacement, the disembodied voice, repetition-compulsion, and the uncanny. Impossible Women also asks what cultural work such figures perform, locating lesbian desire in American literary history and engaging issues of genre and narrative, social formations such as the rhetoric of the "New Woman," and intersections of racism, sexism, and homophobia.