It is worth noting that the dynamic is not unlike the one expressed by Butler in Gender Trouble, where, discussing Joan Riviere's notion of womanliness as a "masquerade" Butler notes that "femininity is taken on by a woman who 'wishes for masculinity,' but fears the retributive consequences of taking on the public appearance of masculinity…The woman takes on a masquerade knowingly in order to conceal her masculinity from the masculine audience she wants to castrate…the woman who 'wishes for masculinity' is homosexual only in terms of sustaining a masculine identification, but not in terms of a sexual orientation or desire." (Butler 70)
Patriarchal civilization dedicated women to chastity; it recognized more or less openly the right of the male to sexual freedom, while woman was restricted to marriage. (De Beauvoir, 374)
Similarly too Emily Bronte's Heathcliff "forgets" or is made to forget who and what he was; Mary Shelley's monster is "born" without either a memory or a family history…what all these characters and their authors really fear they have forgotten is precisely that aspect of their lives which has been kept from them by patriarchal poetics: their matrilineal heritage of literary strength, their "female power" which…is important to them because of (not in spite of) their mothers. (Gilbert and Gubar 59) Gilbert and Gubar are certainly right here, that to a certain extent what is central in a feminist conception of the "matrilineal heritage" of literary genealogies is the prospect of identifying with one's precursor
This becomes apparent in the scene relatively early in the narrative where Frankenstein finally succeeds in bringing his creature to life. Victor tells us that he "had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body" -- this would seem to be about the amount of time the nineteen-year-old Shelley had spent pregnant (Shelley, V)
Never is she seen in one that fits her person, but in those frightful "loose jackets," which must surely have been invented by somebody envious of a pretty shape. (Wood XXXI) While no critic would ever want to make claims for the feminism of Mrs
However, it is worth noting that the origins of Germany's fractured political situation in religious difference would provide the last major obstacle to Bismarck: it would be the political intransigence of south German Catholics, largely led by their Parliamentary spokesman Ludwig Windthorst, who would provide substantial resistance to Bismarck's policy of Kulturkampf. Margaret Anderson notes that "the Catholic population had suddenly dropped from rough equality with Protestants under the old German Confederation toa a minority of 36% in Bismarck's new creation" thus leading Bismarck's unification scheme to be "trumpted by its greatest enthusiasts as the Protestant empire" (Anderson 77)
But as Arblaster notes, "Britain was not unsympathetic to liberal revolution, France was all for it. Austria, Prussia, and Russia were aghast." (Arblaster 179)
As a result Franz Josef himself believed, in Palmer's words, that "rulers and governments wished to manipulate the popular belief in nationalism" were the "real villains" of late nineteenth century statecraft. (Palmer 146)
Notably, the American Civil War came to determine the most significant five years of the United States in the 19th Century. It was an important event in the nation's history because it was the first time that America was dominated by internal conflicts that challenged its democracy (Fortuna, n
This is an impact that not only occurred in the 19th Century but is felt today, especially in the manner in which Americans describe the country. Actually, no war in the nation's history had such effects as the Civil War that led to three constitutional amendments, freed millions of people from slavery, affected the election of five presidents, and eliminated the main economic and social institutions of half of America (Smith, n
The Senator stated that "our largest trade must be with Asia… The Philippines give us a base at the door of all the East." (Beveridge) Increased trade with Asia had been an American dream since the early days of the Republic, and had been advanced greatly by the 1852 visit of Commodore Perry to Japan
Lincoln has said he will fight to keep the union together, and that does appear to be one thing he's resolute about. The South is confident they will win, just as they were when they foolishly split their ticket three ways during the election (Catton, 1961)
John Calhoun tried to tell us we should leave the union then, but we didn't listen. (Naden & Blue, 2000)
Marat, a personal friend of David and a revolutionary radical, is vividly placed and is intended to sharpen the sense of pain and outrage in the viewer; thus, it is convincingly real via its use of light and shadow, almost as if David had taken a photograph of the death scene. The highest qualities of the sublime and the terrible and the emotions of awe and admiring wonder are best illustrated in the works of Eugene Delacroix (1798-1863), and according to the French poet Charles Baudelaire, Delacroix "inherited from the great Republican and imperial school of David a love for poets and poetry and a strange and impulsive spirit of authenticity;" he also was the "soul-stirring translator of Shakespeare, Dante, and Byron" (Holt 216)
By 1886, the Impressionists were accepted by the art world as serious artists by most of the critics and by a large percentage of the public. Yet within a short period of time, another style emerged, being Post-Impressionism, a "more systematic examination of the properties of three-dimensional space, of the expressive qualities of line, pattern and color, and the symbolic character of subject matter" (Needham 245)
form, simplicity, proportion and restrained emotion" (Pioch, "Classicism," Internet), David remains the father of academic art produced under official patronage in 19th century France. As an artist, David "re-worked in his own individual and often non-classical style all classical and academic traditions while rebelling against the Rococo as an artificial artform;" David also "exalted classical art as the imitation of nature in her most beautiful and perfect form" (Peillex 156)
Encounters with pre-industrialized nations via colonization encouraged Europeans like Gaugin to explore a more liberal sexuality. Indeed, "Tahiti was more sexually liberated than turn-of-the-century Paris and there is no doubt that Gauguin revelled in the opportunities it offered," (Hill 2001)
Gaugin incorporated Tahitian motifs and artistic styles in his paintings, which display a lively color palette. The "primitive" approach to painting extant in Tahiti was "characterized by flat forms and the violent colors belonging to an untamed nature," (Pioch 2002)
Imperialism and colonialism had a direct impact on the art of Paul Gaugin. Gaugin worked with the merchant navy making "several long sea voyages" (Roskill 1997)
As one critic notes, "The brilliance of movement of colour in Delacroix's work is connected to the excitement and movement of his romantic subject." (Delacroix considered himself to be a 'pure classicist'