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The first comprehensive guide to the burgeoning field of women's autobiography. Essays from 39 prominent critics and writers explore narratives across the centuries and from around the globe. A list of more than 200 women's autobiographies and a comprehensive bibliography provide invaluable information for scholars, teachers, and readers.
An overview of women's autobiography, providing historical background and contemporary criticism along with selections from a range of autobiographies by women. It seeks to provide a broad introduction to the major questions dominating autobiographical scholarship today.
Charts the ways that woman artists have represented themselves and their life stories
The four essays in this volume discuss the autobiographical writings of Iranian women. The contributors to the collection include William Hanaway, Michael Hillmann, and Farzaneh Milani. Milani asks why modern Persian literature, with its rich self-reflective tradition, has not produced many autobiographies, and what particular problems confront Iranian women engaging in autobiographical writing. Najmabadi discusses one of the earliest modern autobiographical writings by a woman, Taj os-Saltaneh’s Memories, and Hillman projects Forugh Farrokhzad’s poetry as an autobiographical voice. Hanaway investigates the possibilities of going beyond lack of Western-style autobiographical form and looking for what Persian literary forms and categories provide for the autobiographical voice.
Focus on the works of Harriet Jacobs, Elizabeth Cady Stanton, Gertrude Stein, Mary McCarthy, Maxine Hong Kingston, and others.
Victorian women's autobiography emerged at a historical moment when the field of life writing was particularly rich. Spiritual autobiography was developing interesting variations in the heroic memoirs of pioneering missionary women and in probing intellectual analyses of Nonconformists, Anglicans, agnostics, and other religious thinkers. The chroniques scandaleuses of the eighteenth century were giving way to the respectable artist's life of the professional Victorian woman. The domestic memoir, a Victorian variation on the family histories of the seventeenth and eighteenth centuries, flourished in a culture that celebrated the joys of home, family, and private life. Perhaps most important, Victorian women writers were experimenting with all these forms in various combinations and permutations. Arguing that women's autobiography does not represent a singular separate tradition but instead embraces multiple lineages, Linda H. Peterson explores the poetics and politics of these diverse forms of life writing. She carefully analyzes the polemical Autobiography of Harriet Martineau and Personal Recollections of Charlotte Elizabeth Tonna, the missionary memoirs that challenge Charlotte Brontë's Jane Eyre, the Romantic autobiographies of the poet and poetess that Barrett Browning reconstructs in Aurora Leigh, the professional life stories of Margaret Oliphant and her contemporaries, and the Brontëan and Eliotian bifurcations of Mary Cholmondeley's memoirs. The desire to know the details of other women's lives--and to use them for one's own purposes--underlies much Victorian women's autobiography, even as it helps to explain our continuing interest in their accounts.
Autobiography raises a vital issue in feminist critical theory today: the imperative need to situate the female subject. Life/Lines, a collection of essays on women's autobiography, attempts to meet this need.
A hilarious parody memoir for the beloved Veep character portrayed for seven seasons by Emmy-winner Julia Louis-Dreyfus. Born and raised deep in the American heartland of God-fearing suburban Maryland, young Selina Eaton learned to love her country and her fellow man from her parents, Catherine, a sportswoman, dog lover, and philanthropist, and Gordon, or “Daddy” as she always called him, a businessman and entrepreneur. From an early age, Selina, an active, curious, happy-go-lucky child, showed an uncanny ability to relate to others and to solve their real-world problems with real-world solutions. In this she was inspired by her idol: feminist, humanitarian, stateswoman, and first lady, Eleanor Roosevelt. Eleanor Roosevelt maintained a lively relationship with many prominent figures of her time, including Adlai Stevenson, John F. Kennedy, Albert Schweitzer, and probably Pablo Casals. She inspired countless women to break out of the established roles for women in society, among them the pioneering aviatrix Amelia Earhart, with whom she flew several times. Dubbed the “Queen of the Air,” Amelia Earhart captivated the nation both with her bravery, skill, and daring when flying her planes and when challenging society’s hidebound attitudes as to what constituted a proper place for women. America mourned when she disappeared mysteriously somewhere in the Pacific during an attempted around-the-world flight in 1937. Speculation continues to this day as to Amelia’s ultimate fate, even as hope has faded that she may yet be found alive. With wit, wisdom, eloquence, and fearless honesty, Selina Meyer reveals for the first time what really goes on in the halls of power, including the ultimate hall, the White House. It’s all here: the triumphs, the tragedies, the personalities, and the momentous events that have shaped our times, brought together in a page-turning tale told as only Selina Meyer could tell it. Selina Meyer’s compassion, her sense of humor, her grace, and her uncommon willingness to bare her heart make this story revelatory, beautifully rendered, and unlike any other president’s memoir ever written. First Woman: A Woman First would be a fitting title for a book about Selina Meyer, Eleanor Roosevelt, or Amelia Earhart, but in this case, it is about Selina Meyer.