MODERN WOMENS ASPIRATIONS IN SHASHI DESHPANDE THE DARK HOLDS NO TERRORS

Shashi Deshpande in her novel has presented a realistic picture of the modern educated, intelligent middle class woman in the novel. The New Woman is neither fully traditional nor fully modern. A new paradigms related to a womans life came into existence i.e. tradition and modernity, economic dependence, self-assertion, aspiration and independent in life in her novel.The New Woman in Deshpandes novel gets all types of rights in their life hence they struggle a lot to get free from the traditional world andin quest for her own identity. The present paper is an attempt to analyze Shashi Deshpandes novel The Dark Holds No Terrors.The Methodology followed in the analysis is of comparative and contrast.Sarita is the main protagonist of the novel, who is modern emancipated middle-class educated woman in the novel. She plays different roles to achieve her goals and aspirations in her life through facing various traumas in the novel.An attempt has been made to highlight Deshpandes story The Dark Holds No Terror that allocates the educated women in all possible ways.

La espiritualidad de la madre de familia: Mónica «mater», imagen de la Iglesia

The article presents the figure of Monica, mother of Augustine, highlighting her spirituality as a Christian mother, underlining especially three elements. First, the fact that Monica is a middle-class woman, in relationship to women of high social rank, of whom we know the stories, told by Gregory of Nissa, Gregory of Nazianzus or Jerome. Later, the article points out how Monica is the image of the Church, and not just a domestic example of a Christian mother. Finally, the article shows that Monica, as “mother”, plays a role in the society, not only with respect to her children, but also expresses the identity of the mother. In Monica, the woman as “mother” is “subject” of rights, is “uxor” according to Roman law.

Regulating Servants in Victorian Women’s Print Media

In this chapter, Kathryn Ledbetter considers some of the ‘invisible’ figures that were at the heart of domestic magazines. If, as Beetham notes, domestic magazines often elided the presence of the servant in the middle-class home, Ledbetter’s essay addresses this lacuna head on. Although a topic ripe for satire by the likes of Punch, ‘women’s periodicals and household manuals rarely made light of the responsibilities involved in proper service’ (33). Part of being a successful middle-class woman, these publications maintained, was the effective regulation of servants, who without such monitoring might succumb to immorality and poor working habits. Indeed, Ledbetter notes that a ‘common response in women’s periodicals was that bad mistresses made bad servants’ (34). Yet what did servants make of such discussions of their lives in these magazines or in the servants’ magazines that more directly targeted them?

Mary Smith (1822–1889): A Radical Journalist under Many Guises

In this essay, Florence S. Boos examines the career of Mary Smith, a writer who used the correspondence columns of the Carlisle Journal and other periodicals to write on religious pluralism, women’s enfranchisement, Liberal party politics, Irish Home Rule, and British imperialism. The extent of her contributions will probably never be fully known since her letters were signed with initials or with pseudonyms such as ‘Burns Redivivus’ or ‘Sigma.’ Anonymity was crucial for a lower-middle-class woman writer who could not vote but yearned to influence public debate. ‘If men knew who the writer was,’ she acknowledged, ‘they would say, “What does a woman know about politics?”’ (p. 510). When adopting various signatures, she shifted her tone and persona accordingly, reserving her most strident voice for the letters she published on Liberal party politics, styling herself as ‘Sigma’ or ‘Z.’ ‘Periodical journalism,’ Boos concludes, ‘provided Smith with the opportunity to explore a range of personae, topics, and rhetorical approaches over several decades, and to influence public opinion in favour of her chosen causes while retaining her cherished mental independence and broadly critical stance’ (p. 513).

Marriage in The Late of 19th Century Reflected in The Age of Innocence

The Age of Innocence presents marriage woman in sociocultural background of upper-middle class woman in the late of 19th century. This research aimed to describe marriage in the alte of 19th century reflected in The Age of Innocence. The researcher used qualitative method. The data were analyzed by using the Sociological theory in order to describe marriage in the novel. The sociological theory is uesd to analysed the sociological background of marriage woman at that time. The results of the research shows marriage in the late of 19th century that describe in two parts; woman as fiancee and woman as a wife. The Age of Innocence represent the marriage women are still patriacy and in the domestic sphere

Modern Dating and Respectability on Trial

Chapter 5 follows the sensational trial of Frieda Kliem’s murderer and the strategy of the defense, which was not so much a legal strategy as a way of turning the trial into a question of Frieda’s respectability as a middle-class woman. It interprets this trial—and the life of Frieda Kliem, more generally—as a microcosm of the large-scale confrontation between nineteenth-century society and the emerging twentieth-century world. It contends that identity, presented either authentically or as an illusion, became supremely relevant in the metropolis, where the ubiquity of strangers, new faces, and mysterious crimes shaped the way city people narrated the search for love and intimacy. And because enterprising outsiders like Frieda Kliem so flouted the established patterns of middle-class respectability, they remained on the outside looking in as German society clung to the nineteenth-century world that was crumbling in the face of a bewilderingly new twentieth-century one.

Ethel A. Stephens’ “at home”: art education for girls and women

Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.