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Women and Epistolary Agency in Early Modern Culture, 1450–1690 is the first collection to examine the gendered nature of women’s letter-writing in England and Ireland from the late-fifteenth century through to the Restoration. The essays collected here represent an important body of new work by a group of international scholars who together look to reorient the study of women’s letters in the contexts of early modern culture. The volume builds upon recent approaches to the letter, both rhetorical and material, that have the power to transform the ways in which we understand, study and situate early modern women’s letter-writing, challenging misconceptions of women’s letters as intrinsically private, domestic and apolitical. The essays in the volume embrace a range of interdisciplinary approaches: historical, literary, palaeographic, linguistic, material and gender-based. Contributors deal with a variety of issues related to early modern women’s correspondence in England and Ireland. These include women’s rhetorical and persuasive skills and the importance of gendered epistolary strategies; gender and the materiality of the letter as a physical form; female agency, education, knowledge and power; epistolary networks and communication technologies. In this volume, the study of women’s letters is not confined to writings by women; contributors here examine not only the collaborative nature of some letter-writing but also explore how men addressed women in their correspondence as well as some rich examples of how women were constructed in and through the letters of men. As a whole, the book stands as a valuable reassessment of the complex gendered nature of early modern women’s correspondence.
Women of letters writes a new history of English women's intellectual worlds using their private letters as evidence of hidden networks of creative exchange. The book argues that many women of this period engaged with a life of the mind and demonstrates the dynamic role letter-writing played in the development of ideas. Until now, it has been assumed that women's intellectual opportunities were curtailed by their confinement in the home. This book illuminates the household as a vibrant site of intellectual thought and expression. Amidst the catalogue of day-to-day news in women's letters are sections dedicated to the discussion of books, plays and ideas. Through these personal epistles, Women of letters offers a fresh interpretation of intellectual life in the late seventeenth and early eighteenth centuries, one that champions the ephemeral and the fleeting in order to rediscover women's lives and minds.
This volume of ten essays discusses the pivotal role that letters have played in social, economic and political history from the seventeenth to the twentieth century. The recent scholarly interest in the history of reading has as yet yielded few studies which consider letters as a category of readable material. The contributors to this book seek to redress this oversight, viewing letters as texts which can reveal information, not only about their writers and readers, but about the wider historical context in which they were written. Topics covered include the mercantile letter, diplomatic correspondence, and what these epistolary forms suggest about the rise of a polite, literate culture in the eighteenth century; the experience of immigration from Europe to America during the nineteenth and twentieth centuries; the relationship through the letter; and the working of gender in the epistolary form. Rebecca Earle provides an overview of how the study of letter-writing can open up new avenues of historical as well as literary investigation. This, together with contributions form leading international scholars, makes Epistolary Selves an essential text for those researching the letter genre.
A Lost Lady is a novel by American author Willa Cather, first published in 1923. It centers on Marian Forrester, her husband Captain Daniel Forrester, and their lives in the small western town of Sweet Water, along the Transcontinental Railroad. However, it is mostly told from the perspective of a young man named Niel Herbert, as he observes the decline of both Marian and the West itself, as it shifts from a place of pioneering spirit to one of corporate exploitation. Exploring themes of social class, money, and the march of progress, A Lost Lady was praised for its vivid use of symbolism and setting, and is considered to be a major influence on the works of F. Scott Fitzgerald. It has been adapted to film twice, with a film adaptation being released in 1924, followed by a looser adaptation in 1934, starring Barbara Stanwyck. A Lost Lady begins in the small railroad town of Sweet Water, on the undeveloped Western plains. The most prominent family in the town is the Forresters, and Marian Forrester is known for her hospitality and kindness. The railroad executives frequently stop by her house and enjoy the food and comfort she offers while there on business. A young boy, Niel Herbert, frequently plays on the Forrester estate with his friend. One day, an older boy named Ivy Peters arrives, and shoots a woodpecker out of a tree. He then blinds the bird and laughs as it flies around helplessly. Niel pities the bird and tries to climb the tree to put it out of its misery, but while climbing he slips, and breaks his arm in the fall, as well as knocking himself unconscious. Ivy takes him to the Forrester house where Marian looks after him. When Niel wakes up, he's amazed by the nice house and how sweet Marian smells. He doesn't't see her much after that, but several years later he and his uncle, Judge Pommeroy, are invited to the Forrester house for dinner. There he meets Ellinger, who he will later learn is Mrs. Forrester's lover, and Constance, a young girl his age.
"Invisible Years tells the story of an extended Jewish family in the Nazi-occupied Netherlands, who, when faced with imminent deportation and death, split up and went underground. With intimate firsthand accounts, photographs, artifacts, and historical references, award-winning book designer Daphne Geismar weaves together her family's multi-generational experience during World War II." --
Both the letters, edited and censored by Runckel, and the plays, commissioned and edited by her husband, reveal a number of intriguing "detours" from the path of conventionality: biographical aberrations in her letters (her chagrined loyalty to her husband, her passionate "friendship" with Runckel) and poetological deviations from her husband's poetics expressed in her dramas."--BOOK JACKET.
Charlie Chaplin's A Woman of Paris (1923) was a groundbreaking film which was neither a simple recycling of Peggy Hopkins Joyce's story, nor quickly forgotten. Through heavily-documented "period research," this book lands several bombshells, including Paris is deeply rooted in Chaplin's previous films and his relationship with Edna Purviance, Paris was not rejected by heartland America, Chaplin did "romantic research" (especially with Pola Negri), and Paris' many ongoing influences have never been fully appreciated. These are just a few of the mistakes about Paris.
First published in 1957, The English Woman in History displays the place women have held and the influence they have exerted within the changing pattern of English society. Ever since the days of Queen Elizabeth I the position of women in English society has been a matter of general debate. In the seventeenth century many men produced books in praise of women, following the example of Thomas Heywood. Most of these books were devoted to the praises of individual women, but their authors generally produced arguments against subjection of all women to the unthinking dominance of men. While married women were still legally subject to their husbands and no women were allowed to take part in public affairs it was impossible to write objectively about women’s place in the world. The women who at the end of the seventeenth century began to write were generally fired by a sense of injustice, and men tended to write condescendingly of charm and beauty, which interested them more than intelligence and wit. Now that women are bearing public responsibilities with success it is possible for historians to look back dispassionately over the centuries and trace the stages by which this position has been won. It is a survey of this nature which Lady Stenton has attempted in this book. This is a must read for students and scholars of women’s history, gender studies and women’s movement.