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Challenges the traditional view of Southern women in the nineteenth century, revealing their gradual emergence into political and professional spheres
The variety and fevor of comment that greeted Anne Scott's The Southern Lady in 1970 can now be seen as a foreshadowing for its lasting impact. In her wide-ranging new Afterword to this edition of a work not infrequently called a classic, the noted historian describes the way it came to be written, asks what she would do differently now, and suggests areas for further exploration.
The variety and fevor of comment that greeted Anne Scott's The Southern Lady in 1970 can now be seen as a foreshadowing for its lasting impact. In her wide-ranging new Afterword to this edition of a work not infrequently called a classic, the noted historian describes the way it came to be written, asks what she would do differently now, and suggests areas for further exploration.
Contributions by Laura F. Edwards, Crystal Feimster, Glenda E. Gilmore, Jacquelyn Dowd Hall, Darlene Clark Hine, Mary Kelley, Markeeva Morgan, Anne Firor Scott, Laurel Thatcher Ulrich, and Deborah Gray White Anne Firor Scott's The Southern Lady: From Pedestal to Politics, 1830-1930 stirred a keen interest among historians in both the approach and message of her book. Using women's diaries, letters, and other personal documents, Scott brought to life southern women as wives and mothers, as members of their communities and churches, and as sometimes sassy but rarely passive agents. She brilliantly demonstrated that the familiar dichotomies of the personal versus the public, the private versus the civic, which had dominated traditional scholarship about men, could not be made to fit women's lives. In doing so, she helped to open up vast terrains of women's experiences for historical scholarship. This volume, based on papers presented at the University of Mississippi's annual Chancellor Porter L. Fortune Symposium in Southern History, brings together essays by scholars at the forefront of contemporary scholarship on American women's history. Each regards The Southern Lady as having shaped her historical perspective and inspired her choice of topics in important ways. These essays together demonstrate that the power of imagination and scholarly courage manifested in Scott's and other early American women historians' work has blossomed into a gracious plentitude.
Beginning with Native American women, this volume traces the history of farm women of all races in the United States. The complex working lives of rural women -- European immigrants, black slaves and then farmers, Hispanic women in the new border states -- emerge through letters, songs, fiction, official documents, journal entries, poetry, and oral history. The texts testify to women's love of the land, to their consciousness of racism and sexism, and to their energies for social change.
Comprised of essays from twelve leading scholars, this volume extends the discussion of Civil War controversies far past the death of the Confederacy in the spring of 1865. Contributors address, among other topics, Walt Whitman's poetry, the handling of the Union and Confederate dead, the treatment of disabled and destitute northern veterans, Ulysses S. Grant's imposing tomb, and Hollywood's long relationship with the Lost Cause narrative. The contributors are William Blair, Stephen Cushman, Drew Gilpin Faust, Gary W. Gallagher, J. Matthew Gallman, Joseph T. Glatthaar, Harold Holzer, James Marten, Stephanie McCurry, James M. McPherson, Carol Reardon, and Joan Waugh.
The nineteenth-century middle-class ideal of the married woman was of a chaste and diligent wife focused on being a loving mother, with few needs or rights of her own. The modern woman, by contrast, was partner to a new model of marriage, one in which she and her husband formed a relationship based on greater sexual and psychological equality. In Making Marriage Modern, Christina Simmons narrates the development of this new companionate marriage ideal, which took hold in the early twentieth century and prevailed in American society by the 1940s. The first challenges to public reticence to discuss sexual relations between husbands and wives came from social hygiene reformers, who advocated for a scientific but conservative sex education to combat prostitution and venereal disease. A more radical group of feminists, anarchists, and bohemians opposed the Victorian model of marriage and even the institution of marriage. Birth control advocates such as Emma Goldman and Margaret Sanger openly championed women's rights to acquire and use effective contraception. The "companionate marriage" emerged from these efforts. This marital ideal was characterized by greater emotional and sexuality intimacy for both men and women, use of birth control to create smaller families, and destigmatization of divorce in cases of failed unions. Simmons examines what she calls the "flapper" marriage, in which free-spirited young wives enjoyed the early years of marriage, postponing children and domesticity. She looks at the feminist marriage in which women imagined greater equality between the sexes in domestic and paid work and sex. And she explores the African American "partnership marriage," which often included wives' employment and drew more heavily on the involvement of the community and extended family. Finally, she traces how these modern ideals of marriage were promoted in sexual advice literature and marriage manuals of the period. Though male dominance persisted in companionate marriages, Christina Simmons shows how they called for greater independence and satisfaction for women and a new female heterosexuality. By raising women's expectations of marriage, the companionate ideal also contained within it the seeds of second-wave feminists' demands for transforming the institution into one of true equality between the sexes.
Natural Allies, based on painstaking research begun more than 30 years ago when Anne Frior Scott was preparing her now-classic The Southern Lady, is clear and highly readable. It will appeal not only to historians and sociologists but also to anyone working with or studying voluntary organizations. "Both an engaging survey of existing scholarship and a plea for additional research. . . . With wry humor and impassioned scholarship Anne Frior Scott teaches us that the more we are able to learn about women . . . 'the more we will understand about the society that has shaped us all.'" -- New York Times Book Review
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied. The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose. Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.