The author recounts her voyage to Peru in 1833 to claim a family fortune, describes her adventures along the way, and argues for the legalization of divorce
"The Politics of the Essay is that rare scholarly work that provides both a history of this relatively new field and of its formal characteristics and inspires its readers to want to participate in the making of this history." -- Signs The first in-depth study of the relationship between women and essays. Employing gender, race, class, and national identity as axes of analysis, this volume introduces new perspectives into what has been a largely apolitical discussion of the essay. Includes an original essay by Susan Griffin.
This anthology aims to challenge stereotypes of women travellers. Rather than simply presenting writings by Victorian women who travelled bravely around the world disregarding social convention and danger, the editors present a range of writing and possible ways of being a woman traveller. As well as the 'eccentric' woman traveller, the editors have included writings by those who might be seen as failed travellers, cautious and conventional travellers and those who did not conform to the adventurous heroine stereotype. Because travelling as a woman and writing as a woman presents the author with a number of textual problems which must be negotiated, Foster and Mills have chosen to include writings which confronted these problems and which resolved them (or did not resolve them) in different ways.These textual problems include the depiction of other women, the representation of spatial relations, the negotiations undertaken in relation to the adventure heroine narrative and character and the position taken by the author in relation to the representation of knowledge. These issues are all crucial in relation to travel writing by women , and the women, whose writing has been collected together in this anthology have made bold decisions in relation to them.
While doing fieldwork in the modernizing Javanese city of Solo during the late 1980s, Suzanne Brenner came upon a neighborhood that seemed like a museum of a bygone era: Laweyan, a once-thriving production center of batik textiles, had embraced modernity under Dutch colonial rule, only to fend off the modernizing forces of the Indonesian state during the late twentieth century. Focusing on this community, Brenner examines what she calls the making of the "unmodern." She portrays a merchant enclave clinging to its distinctive forms of social life and highlights the unique power of women in the marketplace and the home--two domains closely linked to each other through local economies of production and exchange. Against the social, political, and economic developments of late-colonial and postcolonial Java, Brenner describes how an innovative, commercially successful lifestyle became an anachronism in Indonesian society, thereby challenging the idea that tradition invariably gives way to modernity in an evolutionary progression. Brenner's analysis centers on the importance of gender to processes of social transformation. In Laweyan, the base of economic and social power has shifted from families, in which women were the main producers of wealth and cultural value, to the Indonesian state, which has worked to reorient families toward national political agendas. How such attempts affect women's lives and the meaning of the family itself are key considerations as Brenner questions long-held assumptions about the division between "domestic" and "public" spheres in modern society.
Includes accounts by Lady Mary Wortley Montagu, Mary Wollstonecraft, Anna Leonowens, Edith Wharton, Willa Cather, Isak Dinesen, Beryl Markham, Margaret Mead, M.F.K. Fisher, and Joan Didion.
Here for the first time is a book devoted exclusively to the topic of women’s autobiography in nineteenth-century France. Tracing the rise of autobiography in relation to women’s domestic confinement, Kathleen Hart demonstrates how Flora Tristan, George Sand, and Louise Michel transformed the genre. Inspired by Romantic socialism, each of these remarkable autobiographers links the story of her personal development to socio-historic change. In the wake of the 1830 Revolution, Tristan chronicles social unrest as she relates her progressive transformation into humanity’s “Woman Guide” in Peregrinations of a Pariah (1838). Writing in the aftermath of the 1848 Revolution, Sand consolidates her role as a mediator between the rich and the poor in Story of My Life (1854). A legend of the 1871 Paris Commune, Michel establishes herself as the poet and prophet of a mythical Revolution yet to come in her Memoirs (1886). Exploring the dynamic interplay between revolution and feminist acts of self-affirmation, Revolution and Women’s Autobiography in Nineteenth-Century France will appeal to scholars of history, French culture, literature, and women’s studies.