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Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Marian Wilson Kimber restores elocution with music to its rightful place in performance history. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains. Their performances advocated for female agency while also contributing to a new social construction of gender. Elocutionists, proud purveyors of wholesome entertainment, pointedly contrasted their "acceptable" feminine attributes against those of morally suspect actresses. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music.
Williams College, in Williamstown, MA, has collected art since the mid-19th century. In this chronological journey through American art in all media, each of 56 highlighted objects from the museum receives a mini-essay of several hundred words, signed by contributors who frequently are the acknowledged experts on particular artists or works. A full factual entry on each work appears at the back of the book, preceded by extremely brief summaries of the acquisitions histories of the overall collection's painting, drawing, sculpture, Williams portraits, prints, photographs, posters, and decorative arts. College alumni donated many items, including collections on Rube Goldberg, Thomas Nast, and the Prendergasts. This is not the definitive book on American art, but it is an excellent survey with many interesting objects not commonly reproduced. For art history collections. 64 colour & 65 b/w illustrations
The author provides an interdisciplinary cultural study of the evolution of Progressive-era girls' peer groups, their representation in popular girls' fiction, and the influence of these communities, both real and fictional, upon young women's lives during the years leading up to the Second World War. The writers featured in this volume were the first generation of New Women, whose ability to enter traditionally male spaces such as the college campus, the playing field, the wilderness, and the office was facilitated by their membership in women's clubs, political and religious organizations, and athletic teams. Eager to promote the idea that same-sex group activities would lead to female empowerment, these clubwomen targeted young girls as their intended audience and developed an idealized fictional portrait of female cooperation that girls could replicate in their own lives. By adding to our knowledge of girls' cultural history, the author gives voice to a segment of the population that was, and still is, at the center of society's debates concerning the appropriate roles for girls and women. Authors discussed include Louisa May Alcott, Emma Dunham Kelley, Laura Lee Hope (psuedonym for Lilian Garis), Carolyn Keene (pseudonym for Mildred Wirt Benson), and Margaret Sutton.