The moral lesson that women as the weaker sex should be accompanied by elder people or male relatives is presented in this work. A justification of the customs of those days, the chivalry of gentlemen and the politeness of ladies is the motif. A charming depiction of the lives of men and women that borders on fairytale atmosphere.
The essays in Menacing Virgins: Representing Virginity in the Middle Ages and the Renaissance examine the nexus of religious, political, economic, and aesthetic values that produce the Western European myth of virginity, and explore how those complex cultural forces animate, empower, discipline, disclose, mystify, and menace the virginal body. As the title suggests, the virgin can be seen alternately or even simultaneously as menaced or menacing. To chart the history of virginity as a steady, evolutionary progression from a religious ideal in the Middle Ages toward a more secularized or sovereign ideal in the Renaissance would obscure how unstable a concept chastity is in both periods. What this collection demonstrates is that medieval and early modern attitudes toward virginity are not general and evolutionary, but specific, changeable, and often conflicted.
Flamboyant, theatrical and ambitious, Margaret Cavendish was one of the seventeenth century's most striking figures: a woman who ventured into the male spheres of politics, science, philosophy and literature. The Blazing World is a highly original work: part Utopian fiction, part feminist text, it tells of a lady shipwrecked on the Blazing World where she is made Empress and uses her power to ensure that it is free of war, religious division and unfair sexual discrimination. This volume also includes The Contract, a romance in which love and law work harmoniously together, and Assaulted and Pursued Chastity, which explores the power and freedom a woman can achieve in the disguise of a man.
Cottegnies (English literature, University of Paris 8-Saint Denis) and Weitz (University of Oxford) offer a collection of essays on Margaret Cavendish's innovative use of genre. These interdisciplinary and multinational contributions present a variety of critical approaches to the problem of placing Cavendish's writing in the context of contemporary literary and philosophical history. The book is distributed by Associated University Presses. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).
Contending that early modern fictional portrayals of sexual violence identify the position of the author with that of the chaste woman threatened with rape, Amy Greenstadt challenges the prevalent scholarly view that this period's concept of 'The Author' was inherently masculine. Instead, she argues, the analogy between rape and writing centrally informed ideas of literary intention that emerged during the English Renaissance. Analyzing works by Milton, Sidney, Shakespeare and Cavendish, Greenstadt shows how the figure of 'The Author' - and by extension ideas of the modern individual--derived from a paradigm of female virtue and vulnerability. This volume supplements the growing body of studies that address the relationship between early modern textual representation and notions of gender and sexuality; it also adds a new dimension in considering the wider origins of modern concepts of selfhood and individual rights.
1666 Dystopian Science Fiction, Woman Author The Description of a New World, Called The Blazing-World. A Merchant travelling into a foreign Country, fell extreamly in Love with a young Lady; but being a stranger in that Nation, and beneath her, both in Birth and Wealth, he could have but little hopes of obtaining his desire; however his Love growing more and more vehement upon him, even to the slighting of all difficulties, he resolved at last to Steal her away; which he had the better opportunity to do, because her Father's house was not far from the Sea, and she often using to gather shells upon the shore accompanied not with above two to three of her servants it encouraged him the more to execute his design. Thus coming one time with a little leight Vessel, not unlike a Packet-boat, mann'd with some few Sea-men, and well victualled, for fear of some accidents, which might perhaps retard their journey, to the place where she used to repair; he forced her away...
Contending that early modern fictional portrayals of sexual violence identify the position of the author with that of the chaste woman threatened with rape, Amy Greenstadt challenges the prevalent scholarly view that this period's concept of 'The Author' was inherently masculine. Instead, she argues, the analogy between rape and writing centrally informed ideas of literary intention that emerged during the English Renaissance. Analyzing works by Milton, Sidney, Shakespeare and Cavendish, Greenstadt shows how the figure of 'The Author' - and by extension ideas of the modern individual--derived from a paradigm of female virtue and vulnerability. This volume supplements the growing body of studies that address the relationship between early modern textual representation and notions of gender and sexuality; it also adds a new dimension in considering the wider origins of modern concepts of selfhood and individual rights.
Divided into three sections on cosmetics, clothes and hairstyling, this book explores how early modern women regarded beauty culture and in what ways skin, clothes and hair could be used to represent racial, class and gender identities, and to convey political, religious and philosophical ideals.
Looking at travel writing by British women from the seventeenth century on, Karen R. Lawrence asks an intriguing question: What happens when, instead of waiting patiently for Odysseus, Penelope voyages and records her journey—when the woman who is expected to waitsets forth herself and traces an itinerary of her own? Lawrence ranges widely, discussing both fiction and nonfiction and traversing the genres of travel letters, realistic and sentimental novels, ethnography, fantasy, and postmodern narrative. In examining works as dissimilar as Margaret Cavendish's rendition of the Renaissance adventure narrative and Christine Brooke-Rose's postmodernist Between, she explores not only the significance of gender for travel writing, but also the value of travel itself for testing the limits of women's social freedoms and restraints. Lawrence shows how writings by Frances Burney, Mary Wollstonecraft, Sarah Lee, Mary Kingsley, Virginia Woolf, and Brigid Brophy reconceive the meanings of femininity in relation to such apparent oppositions as travel/home, other/self, and foreign/domestic. Despite the differences-historical, generic, political-among these writers, Lawrence maintains, they share common insights. Their accounts overturn the dichotomy between adventure and domesticity, demonstrating something illusory within both the stability of home and the freedom of travel.
These 30 true stories of take-charge princesses from around the world and throughout history offer a different kind of bedtime story . . . Pop history meets a funny, feminist point-of-view in these illustrated tales of “royal terrors who make modern gossip queens seem as demure as Snow White” (New York Post). You think you know her story. You’ve read the Brothers Grimm, you’ve watched the Disney cartoons, and you cheered as these virtuous women lived happily ever after. But real princesses didn’t always get happy endings—and had very little in common with Cinderella, Sleeping Beauty, Belle, or Ariel. Featuring illustrations by Wicked cover artist, Douglas Smith, Princesses Behaving Badly tells the true stories of famous (Marie Antoinette; Lucrezia Borgia)—and some not-so-famous—princesses throughout history and around the world, including: • Princess Stephanie von Hohenlohe, a Nazi spy. • Empress Elisabeth of the Austro-Hungarian Empire, who slept wearing a mask of raw veal. • Princess Olga of Kiev, who slaughtered her way to sainthood. • Princess Lakshmibai, who waged war on the battlefield with her toddler strapped to her back. Some were villains, some were heroes, some were just plain crazy. But none of these princesses felt constrained to our notions of “lady-like” behavior.