Grumpy old women? The (Self) Image of Elderly Sisters of the Doopsgezind Oude Vrouwenhuis or Elderly Women’s Home in Nineteenth-Century Amsterdam

Sisters ◽  
2014 ◽  
pp. 269-284
2012 ◽  
Vol 25 (4) ◽  
pp. 885-907
Author(s):  
MOHAMMAD SHAHABUDDIN

AbstractAs a concept, ‘ethnicity’ has been informing the notions of the ‘self’ as well as the ‘other’ since antiquity. While in ancient Greek it referred to the ‘other’ in a derogatory sense, in the Romantic literature of the nineteenth century, ethnicity came to depict the self-image of the nation. Although, in contrast, the liberal self-image refers to ethnicity only in the instrumental sense (as a tool for regulation without attributing any real value to the notion), ethnicity remains salient in both the liberal and conservative versions of nationalism to identify the backward ‘other’ – the minority – within the nation. Against the backdrop of the nineteenth-century discourse on ethnicity, this paper explores how the notion of ethnicity having the image of ‘otherness’ as well as ‘backwardness’ shapes the liberal perception of ‘minority’ and ‘minority protection’ in the post-Cold War context in three different ways. First, I argue that ethnicity informs the perception of the minority as the ethnic ‘other’. Second, the individualist response to minority protection paradoxically endeavours to remove ‘ethnicity’ from the concept of ‘minority’. And finally, in the post-Cold War European scenario, it is again the ethnic ‘otherness’ that rationalizes a differentiated minority protection mechanism for the West and the East within Europe.


Author(s):  
Emily Van Buskirk

This chapter explains the concept of post-individualist prose as a pointed departure from nineteenth-century Realism. This is a fragmentary, documentary literature that restricts itself to the realm of “fact,” while being free to range outside the conventions of established genres. The post-individualist person's primary dilemma is a crisis in values, and Ginzburg treats writing as an ethical act. The chapter considers how writing serves as an “exit from the self,” a process by which the self becomes another, leaving behind the ego. It then turns to two of Ginzburg's narratives (“Delusion of the Will” and “A Story of Pity and Cruelty”), which concern the dilemmas of moral action in response to the death of a loved one. The traumatized subject uses techniques of “self-distancing” to deal with his or her sense of self and of the past by constructing a complete and responsible self-image, embedded within a social milieu, and then trying to connect it with his or her actions. Ginzburg's techniques of “self-distancing” are examined side-by-side with Shklovsky's concept of ostranenie (“estrangement”) and Bakhtin's vnenakhodimost' (“outsideness”).


2022 ◽  
Vol 9 (1) ◽  
pp. 95-124
Author(s):  
Franco Motta ◽  
Eleonora Rai

Abstract This article explores the promotion of “Jesuit sanctity,” in the delicate passage between the suppression and the restoration of the Society of Jesus, as a reflection of the process of revival of the order. The strategies of sainthood that were fostered by the ex-Jesuits during the suppression and by the restored Society reveal fundamental information about the self-image that the order wanted to show to the world. These strategies emerge clearly from the activity of the General Postulation for the Causes of Saints of the new Society of Jesus, which in the nineteenth century focused in particular on two models of sanctity: martyrs and missionaries (and often martyred missionaries). Presenting important case studies of Francesco De Geronimo and Andrzej Bobola, this article investigates the reasons why the Society of Jesus promoted these typologies of sanctity in lieu of the trauma of the suppression, which emerges as “martyrdom” in Jesuit sources, and in the process of re-establishment of the order. It eventually explores how this “policy” of sainthood fits more broadly in the history of the Catholic Church in the nineteenth and twentieth centuries.


Author(s):  
Agata Jakubowska

Narratives about women artists usually point to the obstacles they face in the development of their artistic careers. In her article, the author proposes an analysis that concentrates on how a woman artist – Zofia Kulik – presented herself as the heroine of a successful story of emancipation in the series of works titled The Splendor of Myself (1997, 2015, 2017). The self-image she presents is paradoxical: we deal with both her ostentatious presence and her absence as her physical presence is hidden behind the gorgeous but extremely stiff dress. It corresponds with Kulik’s understanding of her success as directly related with the wealth of images and the mastery of composition.


Author(s):  
Manju Dhariwal ◽  

Written almost half a century apart, Rajmohan’s Wife (1864) and The Home and the World (1916) can be read as women centric texts written in colonial India. The plot of both the texts is set in Bengal, the cultural and political centre of colonial India. Rajmohan’s Wife, arguably the first Indian English novel, is one of the first novels to realistically represent ‘Woman’ in the nineteenth century. Set in a newly emerging society of India, it provides an insight into the status of women, their susceptibility and dependence on men. The Home and the World, written at the height of Swadeshi movement in Bengal, presents its woman protagonist in a much progressive space. The paper closely examines these two texts and argues that women enact their agency in relational spaces which leads to the process of their ‘becoming’. The paper analyses this journey of the progress of the self, which starts with Matangini and culminates in Bimala. The paper concludes that women’s journey to emancipation is symbolic of the journey of the nation to independence.


Author(s):  
James Deaville

The chapter explores the way English-language etiquette books from the nineteenth century prescribe accepted behavior for upwardly mobile members of the bourgeoisie. This advice extended to social events known today as “salons” that were conducted in the domestic drawing room or parlor, where guests would perform musical selections for the enjoyment of other guests. The audience for such informal music making was expected to listen attentively, in keeping with the (self-) disciplining of the bourgeois body that such regulations represented in the nineteenth century. Yet even as the modern world became noisier and aurally more confusing, so, too, did contemporary social events, which led authors to become stricter in their disciplining of the audience at these drawing room performances. Nevertheless, hosts and guests could not avoid the growing “crisis of attention” pervading this mode of entertainment, which would lead to the modern habit of inattentive listening.


1960 ◽  
Vol 29 (1) ◽  
pp. 72-81
Author(s):  
Esther Menaker
Keyword(s):  
The Self ◽  

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