Eliza Lowe, with two of her sisters, ran a school for girls, aged between 13 and 18, first in Liverpool, then in Southgate Middlesex. The book covers her life in Whitchurch, Burton on Trent, Everton, Liverpool and finally in Middlesex. It describes her school and investigates the lives of some her pupils, one from the influential Rathbone family and one who became a suffragist. Life in the school is described thanks to extant unpublished letters from pupils. An appendix continues the story of her school after her death when her niece took over and later became Headmistress of one of the early Woodard girls’ schools in Bangor.
This book analyses the ideas of the Swedish journalist, feminist, and literary author Elin Wägner (1882-1949), as conveyed in her book Väckarklocka (1941), in a European feminist context. This context is presented in terms of three elements. Firstly, the German sociologist/educationalist Mathilde Vaerting and her sociology of power played an important role in Wägner's development of a theory of matriarchy. Secondly, the influence of the Austrian feminist Rosa Mayreder and her theory of masculine civilization and feminine culture are analyzed in relation to Wägner's development of what might be called an early ecological feminism. Thirdly, the mainly unknown Women's Organization for World Order (WOWO) is presented. 0s and 1930s, which wanted to strengthen women's position and confidence as political citizens by providing them with a historical past where women ruled (matriarchy). Thereby they not only reinvented a past, but also revitalized the emergence or eternity of patriarchy. These women discussed the possibility of women offering an alternative to the prevailing order. A special analysis is made of Mayreder's and Wägner's way of discussing what woman is and in what ways she can challenge the system. Both argued that women ought to have the same rights and duties as men, but that this should not require them to adapt to the distorted male system. This study argues that this position, easily characterized as "essentialist" in modern feminist terms, is in fact functional and strongly emancipatory in its time and context. In this reevaluation of Väckarklocka Katarina Leppänen has established this important Swedish novel as a text central to the development of the feminist movement. Elin Wägner's Alarm Clock is a book suitable for students of Swedish Literature and European Feminism.
This facsimile edition reproduces the work titled Eliza's Babes which was first published in 1652. The volume comprises devotional and political verse and prose meditations. The poems cover a wide range of forms from verse epistles to poetic petitions, religious love lyrics to poems on earthly marriage, exultant poetic prayers to stern spiritual admonitions. The meditations are fine examples of the Puritan believer's plain-style response to various biblical texts, theological issues and political events. The text is historically and aesthetically unique. It reveals its anonymous author to be perhaps the first woman to publish substantial creative imitations of poems printed in George Herbert's The Temple (1633) and to rely upon and respond to Robert Herrick's Hesperides (1648). Eliza's Babes is a literary work of great originality. The narrator lives out her estate of salvation as an almost literally experienced marriage of election to Christ her Saviour. In a series of poems, 'Eliza' overcomes her initial shock and disappointment that her heavenly spouse has chosen an earthly partner for her, though this partner's prerogative is noticeably confined to the subservient role of facilitating his wife's heavenly marriage. The copy reproduced in this edition is the British Library text.
Best known for her culinary and domestic guides and the award-winning short story "Mrs. Washington Potts," Eliza Leslie deserves a much more prominent place in contemporary literary discussions of the nineteenth century. Her writing, known for its overtly moralistic and didactic tones—though often presented with wit and humor—also provides contemporary readers with a nuanced perspective for understanding the diversity among American women in Leslie's time.Leslie's writing serves as a commentary on gender ideals and consumerism; presents complicated constructions of racial, national, and class-based identities; and critiques literary genres such as the Gothic romance and the love letter. These criticisms are exposed through the juxtaposition of her fiction and nonfiction instructive texts, which range from lessons on literary conduct to needlework; from recipes for American and French culinary dishes to travel sketches; from songs to educational games. Demonstrating the complexity of choices available to women at the time, this volume enables readers to see how Leslie's rhetoric and audience awareness facilitated her ability to appeal to a broad swath of the nineteenth-century reading public.
An American literary take on the Nordic noir genre Unfolding during the moody Pacific Northwest winter of 1951, we follow Bernadette Baston, scholar of child development and language acquisition, as she travels to a penitentiary on the remote island Elita in the Puget Sound to consult on a curious case: two guards have discovered an animal-like adolescent girl living alone in the cold woods beyond the prison’s walls. There are few answers, but many people who know more than they are saying. According to official reports, the girl, dubbed Atalanta, does not speak. Is her silence protecting someone? The prison warden, court-appointed guardian, and police detective embroil Bernadette in resolving a secret that tight-knit the island community has long held, and her investment in the girl’s case soon becomes more personal than professional. As a mother, wife, and woman bound by mid-twentieth-century expectations, Bernadette strategizes to retain the fragile control she has over her own freedom, identity, and future, which becomes inextricably tied to solving Atalanta’s case.
Descended from the last king of Poland, born in France, educated at a British grade school in Mexico and a Catholic high school in the United States, Hélène Elizabeth Louise Amelie Paula Dolores Poniatowska Amor—otherwise known as Elena—is a passionate, socially conscious writer who is widely known in Mexico and who deserves to be better known everywhere else.With his subject’s complete cooperation (she granted him access to fifty years of personal files), Michael Schuessler provides the first critical biography of Poniatowska’s life and work. She is perhaps best known outside of Mexico as the author of Massacre in Mexico (La noche de Tlatelolco) and Here’s to You, Jesusa! (Hasta no verte, Jesús mío). But her body of published books is vast, beginning with the 1954 publication of Lilus Kikus, a collection of short stories. And she is still writing today.Schuessler, who befriended Poniatowska more than fifteen years ago, is a knowledgeable guide to her engrossing life and equally engaging work. As befits her, his portrait is itself a literary collage, a “living kaleidoscope” that is constantly shifting to include a multiplicity of voices—those of fellow writers, literary critics, her nanny, her mother, and the writer herself—easily accessible to general readers and essential to scholars.Available in English for the first time, this insightful book includes 40 photographs and drawings and an annotated bibliography of Poniatowska’s works—those that have already been translated into English and those awaiting translation.
2010 Sydney Taylor Book Award, Notable Book for Older ReadersThe tale of Rashi’s granddaughter, a young girl who defies her community to help a friend in need. In this sequel to My Guardian Angel, Sylvie Weil continues the story of Elvina, the 14-year-old granddaughter of Rashi, the famous eleventh-century French Bible and Talmud commentator. It is the spring of 1097 in the town of Troyes, in France. The Crusaders have been marauding their way through Europe, attacking Jewish communities. One evening, a mysterious family arrives in Troyes-German Jews forced by the Crusaders to submit to baptism. The townspeople shun the family, but Elvina befriends eleven-year-old Columba. Columba’s mad cousin, Ephraim, steals a mirror from a member of the Jewish community, believing it will let him see his family killed in the recent attacks. Elvina tries to help Ephraim rid his mind of the terrible images by bringing him her own mirror, in which she claims to see a positive future. Elvina’s story brings the world of Medieval European Jewry to life for young readers.Ages 10 and up
Edited by Jill Mulvay Derr and Karen Lynn DavidsonBYU StudiesMormon Studies/PoetryEliza R. Snow first published her poetry pseudonymously in an Ohio newspaper in 1825, when she was twenty-one. Her last poem was published in 1887, when she was eighty-three. In the intervening sixty-two years she wrote more than 500 poems. Her early work covered such various topics as the fight for Greek independence, the plight of the American Indian, and the deaths of Thomas Jefferson and John Adams on the fiftieth anniversary of the Declaration of Independence. Her themes changed when she joined the Church of Jesus Christ of Latter-day Saints in 1835, as her poetry began to reflect her new experiences, including poems about Nauvoo, the trek of the Mormon pioneers to the valley of the Great Salt Lake, and the religious community building that ensued. No public event in the community was complete without her contribution, and some of her poems became the texts for Mormon hymns. When she died on December 5, 1887, the New York Times noted the passing of "the Mormon Poetess . . . one of the central figures of the Mormon galaxy." Snow's poems, varied in style and subject matter, reflect both Mormon and quintessentially American experiences of the nineteenth century. This volume, Eliza R. Snow: The Complete Poetry, presents each poem with contextual information, making it as much a biographical, historical, and theological collection as a literary one, and offering readers the opportunity to enjoy all of the lyrical and powerful poems of this iconic Mormon figure. Distributed for BYU Studies. Eliza R. Snow was living in Ohio in 1826 and had already published her poetry in the Western Courier and the Ohio Star when she was asked by the editors of the Western Courier to commemorate the passing of Thomas Jefferson and John Adams on the same day, July 4, 1826, the fiftieth anniversary of the signing of the Declaration of Independence. An excerpt from her poem demonstrates her engagement with the issues, and the styles, of her time.Adams and Jefferson "Now to their ashes honor--pleace be with them, And choirs of angels sing them to their rest." What bold presumption for my untaught muse Oh for a muse by heaven inspired, to singIn strains appropriate, the mournful theme What shock has nature felt, that should produceSuch strange vibration--such responsive sounds?Hark 'tis the death-bell--mark its solemn tone, Columbia mourns, she mourns her patriot sons Methinks some sacred genii hover'd o'erTheir hoary heads, and life's protracted threadDrew to its utmost length, that they might hailColumbia's Jubilee. Oh, how unlikeThe pathos of that day, big with event--The storm thick gath'ring, and the threat'ning cloudsBursting, from proud Britannia's isle impell'dAgainst Columbia's shore --then those we mourn, With patriotic and heroic zeal, Dar'd Albion's pow'r--proclaimed their country free.
T., an acclaimed but aging actor, and Efina, a passionate theatergoer, are engaged in an obsessive love affair that careens from attraction to repulsion. They compulsively write letters - often to express their intense dislike of one another - which are sent or unsent, answered or unanswered. They meet, they break up, they marry, and they get divorced. They neither can live with nor without one another, and this impossible state of affairs lasts all their lives. In between, there are other men and many other women, but throughout, the magic of the theater and the art of make-believe endure. Efina is a tumultuous novel about art, love, disdain, and above all - obsession - told in a quirky, highly original style. It presents an unapologetically dysfunctional yet honest relationship, detailing outrageous thoughts and absurd behaviors in clear and precise prose. What could have been a sad tale of failed love is delightfully transformed by Noelle Revaz into a masterpiece of dark humor.
Elena - glazami svoikh sozdatelej. Elena iz perspektivy rezhissjora (Andrej Zvjagintsev), stsenarista (Oleg Negin), operatora (Mikhail Krichman). Elena v raznoj stepeni priblizhenija. Elena kak istorija. Elena kak mizanstsena. Elena kak tsvet i zvuk, kak prostranstvo i ritm. Elena kak suschestvovanie - aktjora v kadre, cheloveka v mire. Chto takoe sovremennyj kinematograf, kakov ego novyj jazyk i novyj na nego otklik? Kniga stroitsja na materialakh intervju, dnevnikovykh zapisej, perepiski, master-klassov dlja studentov-kinematografistov i besed s shirokoj auditoriej.
It takes one woman on the edge to solve the murder of another. Elena Balan should be laying low. After all, she's on the run from a horrible mistake. A Romanian single mum, Elena arrives in London to discover that her lover, Frances, has vanished. To find her, Elena's 14-year-old daughter Ana enlists the help of a police officer, the disgraced former DC Robin Yarmouth. Although Frances' whereabouts remain a mystery, things begin looking up. Elena and Ana find an apartment, a job, and a new school. Then Elena's sex worker neighbour and friend is found dead. The police are certain it's suicide. Elena suspects otherwise and her instincts are not to let it go. But will Elena's investigations with Yarmouth prove her own undoing? ---- Elena in Exile is the first book in a projected series about the irrepressible Elena Balan and her journey towards becoming a Met police detective. Set in London's Soho, forever on the cusp of escaping its sleazy past, the novel has a cast of rogues, misfits and eccentrics including Elena's impetuous teen daughter Ana, her film-loving boyfriend Chris, and Italian cafe owner Luca. Blending the observation and humanism of Henning Mankell with the narrative drive and darkness of Jo Nesbo, Elena in Exile is a shocking and surprising debut.
Louis Couperus was catapulted to prominence in 1889 with Eline Vere, a psychological masterpiece inspired by Flaubert and Tolstoy. Eline Vere is a young heiress: dreamy, impulsive, and subject to bleak moods. Though beloved among her large coterie of friends and relations, there are whispers that she is an eccentric: she has been known to wander alone in the park as well indulge in long, lazy philosophical conversations with her vagabond cousin. When she accepts the marriage proposal of a family friend, she is thrust into a life that looks beyond the confines of The Hague, and her overpowering, ever-fluctuating desires grow increasingly blurred and desperate. Only Couperus--as much a member of the elite socialite circle of fin-de-si cle The Hague as he was a virulent critic of its oppressive confines--could have filled this "Novel of The Hague" with so many superbly rendered and vividly imagined characters from a milieu now long forgotten. Award-winning translator Ina Rilke's new translation of this Madame Bovary of The Netherlands will reintroduce to the English-speaking world the greatest Dutch novelist of his generation.
MOM'S CHOICE AWARDS(R) GOLD MEDALIST: A STORY AS AGELESS AS THE FOREVER TREES IT CELEBRATES." A]chingly beautiful..." --Kirkus Reviews" G]reat Mother Redwood enchants......" --New York Times" E]liza's Forever Trees is a compelling and powerful account, very highly recommended...it stands out as an exceptional tale of personal and world discoveries. Add Alex Walton's vivid drawings and you have beautiful creation of hope and color." --Diane Donovan, Children's Editor, Midwest Book Review, Children's Bookshelf" S]tephanie Lisa Tara's writing has such a perfect balance of lightness and depth;the reader sees all creatures, (even snakes) as part of a kind kingdom inhabited with their own native tongue. Her creativity gives the reader treats like French speaking squirrels and a fan favorite in her L-ladybug lingo. "Eet eez mine," the squirrel said in her French accent, which made her angry glare all the more assertive. "Oh mly," said the ladybug. "Ohhhhh mllllly," said several other ladybugs. --Mare Henderson, Teacher, Mom
