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women writers of 18th century
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The following essay gives a short biography of eight of the most well known women playwrights of the eighteenth century. The essay runs in chronological order by each playwright’s birth date and describes the better known accomplishments of each playwright. The playwrights that I have included in this essay are: Mary Delariviere Manley, Mary Griffith Pix, Susanna Carroll Centlivre, Catherine Trotter Cockburn, Eliza Fowler Haywood, Elizabeth Griffith, Hannah Parkhouse Cowley, and Elizabeth Simpson Inchbald (Benedict 2003).
Mary Delariviere Manley has a strange early history. It is unknown whether or not her first name really was Mary. It is unknown exactly when and exactly where she was born. The name of her mother is unknown. The resting place of her father is unknown. Mary Manley was born either on April 6 or 7, 1663, or in any year between 1667 and 1672. Her father, Lieutenant-Governor of the English island of Jersey, abandoned her around 1688. She lived with her cousin, John Manley, who married her, although he was already married. Later, John Manley abandoned her and their son (Schlueter and Schlueter 1988).
Mary Manley’s first two plays, The Lost Lover and The Royal Mischief, were written in 1696 while she lived in Exeter. Both plays were performed in London: The Lost Lover at Drury Lane and The Royal Mischief at Lincoln’s Inn Fields. Although The Lost Lover was not successful, The Royal Mischief brought her wealth and recognition. Mary believed that the plays were not as successful as they could have been because they were written by a woman. From this time on Mary was what we today call a women’s rights activist (Rozny 2001).
Mary began to write political satires for wh...
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... Vows. Oxford: Woodstock Books, 1990.
Ingrassia, Catherine. “Eliza Haywood.” http://www.people.vcu.edu/~cingrass/chronology.htm (13 November 2003).
Ricciardi, Cynthia B. “Welcome to the Elizabeth Griffith Homepage.” 10 June 2000. http://webhost.bridgew.edu/cricciardi/griffith.htm> (11 November 2003).
Rozny, Noel and Margaret Vincent. “The Official Website of the Secret Society of British Gentlewomen.” 19 April 2001.
(11 November 2003).
Schlueter, Paul, and June Schlueter, ed. An Encyclopedia of British Women Writers. NY: Garland, 1988.
Todd, Janet, ed. A Dictionary of British and American Women Writers 1660-1800. NJ: Rowman and Allanheld, 1985.
Warren, Kate M. “New Advent.” 15 September 2003.
(14 November 2003).
James, Edward, Janet James, and Paul Boyer. Notable American Women, 1607-1950. Volume III: P-Z. Cambridge, MA: Harvard University Press, 1971. Print.
Gilbert, Sandra M. and Teresa Sullivan. The Norton Anthology of Literature by Women. New York: Norton, 1985.
Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. 2nd ed. New Haven: Yale UP. 2000.
Fleischmann, Fritz, ed. American Novelists Revisited: Essays in Feminist Criticism. Boston: G. K. Hall & Co., 1982.
The Tragedy of Mariam focuses on Elizabeth's Cary's desire to develop a platform from which women can speak, thereby offering a fuller understanding of women as individuals. By examining issues of public and private language, Cary shows her interest in female voices. As an early-17th-century female playwright, Cary was described by the Earl of Clarendon as `a lady of a most masculine understanding, allayed with the passions and infirmities of her own sex'. This description could be interpreted as a complement to Cary, although the Earl adheres to the patriarchal boundaries placed upon both men and women. The connection that he makes between Cary and masculinity reinforces the stereotype of male authority. This essay will examine Cary's exploration of gender, language and silence in The Tragedy of Mariam. The play's expression of these themes is sometimes open, and at other times covert. By concentrating on the issues of public and private speech, this essay will determine the effects that crossing patriarchal boundaries had on women in early modern England.
Gilbert, S., Gubar, S. (2000) The Madwoman in the Attic: The Woman Writer and Nineteenth Century Literary Imagination Yale University Press
Bukovinsky, Janet. Women of Words: A Personal Introduction to Thirty-five Important Writers. Philadelphia, PA: Running, 1994. Print.
Transcultural nursing requires us to care for our patients by providing culturally sensitive care over a broad spectrum of patients. The purpose of this post is to describe cultural baggage, ethnocentrism, cultural imposition, prejudice, discrimination, and cultural congruence. I will also give an example of each term to help you understand the terminology related to nursing care. I will definite cultural self-assessment and explain why it is valuable for nurses to understand what their own self-assessment means. Finally, I will describe the five steps to delivering culturally congruent nursing care and how I have applied these concepts in my nursing practice.
Behavioral jealousy are actions that occur between an individual who is experiencing envious thoughts and how they internalize and react to the stimuli. Pfeiffer and Wong (1989) “conceptualize jealous behaviors as the detective/protective measures a person takes when relationship rivals (real or imaginary) are perceived. Detective actions include questioning, checking up on the partner, and searching the partner’s belongings” (p.183). Research suggests that behavioral jealousy is used to maintain relationships. Relationship maintenance refers to either positive or negative behaviors that occur between two individuals in order to maintain a healthy communicative balance.
"Women In The Early To Mid-20Th Century (1900-1960) - Introduction." Feminism in Literature. Ed. Jessica Bomarito and Jeffrey W. Hunter. Gale Cengage, 2006. eNotes.com. 2006. 30 Nov, 2010
Gilbert, Susan, and Sandra Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth Century Literary Imagination. New Haven, Conn: Yale University Press, 1979.
Ms. Anna Cora Mowatt is an inspiring theatrical and historical figure. She fell in love with the theatre at a young age and exhibited a talent for acting. Moreover, Mowatt’s fame flourished due to her play and literature publications, not just from than from her acting abilities. Anna Cora Ogden was born on March 5, 1819 in Bordeaux, France to American parents. She and her family moved to New York City when she was seven years old. Anna married James Mowatt, a lawyer who was several years her senior, when she was 15 years old. Her poor health led her to move to and live in Europe during the years 1837-1840. Nonetheless, her feeble health did not put an end to her mental strength. Mowatt’s determination led her to pursue an acting career. She debuted in self-written plays such as The Lady of Lyons, Armand, the Child of the People as well as in a few Shakespearean productions. Mowatt published articles in magazines such Godey’s Lady’s Book, as well as wrote biographies, novels such as The Fortune Hunter (1844) and Evelyn (1845) and her most successful play Fashion. She prospered from the revenue her plays earned since they were well received in Europe and America.
Sheppard, Kate (1847-1934)." Dictionary of Women Worldwide: 25,000 Women Through the Ages. Ed. Anne Commire and Deborah Klezmer. Vol. 2. Detroit: Yorkin Publications, 2007. 1713. Gale Virtual Reference Library. Web. 5 Dec. 2012
There are eight reasons that transcultural nursing has become a necessary framework for the care we
Linda Bamber differentiates between Shakespeare’s treatment of women in comedy and tragedy. In tragedy his women are strong because they are coherent – ‘certainly none of the women in the tragedies worries or changes her mind about who she is’ – and the attacks which are made on them are the product of male resentment at this strength – ‘misogyny and sex nausea are born of failure and self doubt’ . The comic feminine on the other hand, is opposed not to men but to a reified ‘society’: ‘In comedy the feminine either rebels against the restraining social order or (more commonly) presides in alliance with the forces which challenge its hegemony: romantic love, physical nature, the love of pleasure in all its forms’ . Bamber also writes ‘ the comic heroines laugh to see themselves absorbed into the ordinary human comedy; the heroes rage and weep at the difficulty of actually being as extraordinary as the feel themselves to be’ . These moral characteristics ascribed to men and women take no account of their particular circumstances within the texts, nor indeed of their material circumstances and the differential power relations which they support.