American female authors 19th century. The Greatest 19th Century American Novelists 2022-11-16
American female authors 19th century Rating:
In the 19th century, American female authors made significant contributions to the literary world. Many of these women used their writing as a means of addressing the social, political, and personal issues they faced as women in a male-dominated society.
One notable figure in this regard was Louisa May Alcott, who is perhaps best known for her novel "Little Women." This book, which was published in 1868, tells the story of four sisters coming of age during the Civil War. Through the experiences of the main characters, Alcott explores themes of family, love, and the challenges of growing up as a woman in a society that often discriminated against and underestimated women.
Another important figure in the 19th century was Harriet Beecher Stowe, whose novel "Uncle Tom's Cabin" had a profound impact on the abolitionist movement. This book, which was published in 1852, tells the story of a slave named Tom who is subjected to brutal treatment by his owners. Stowe's powerful depiction of the atrocities of slavery helped to galvanize public opinion against the institution, and is often credited with helping to bring about the end of slavery in the United States.
Other notable American female authors of the 19th century include Elizabeth Cady Stanton, who was a leading figure in the women's suffrage movement, and Emily Dickinson, whose poetry is known for its exploration of themes of love, loss, and the human experience.
In conclusion, the 19th century saw a number of American female authors who made significant contributions to the literary world and used their writing as a means of addressing the social, political, and personal issues they faced. These women's works continue to be widely read and studied today, and their legacies continue to inspire and influence writers and readers around the world.
Women's Literature in the 19th Century: American Women Writers
The contours of this vision of woman's role in society during wartime emerged early in the newspapers, magazines, and novels of the war period. Their rhetoric of unity, then, was a kind of offering: women would be a virtuous backbone for the battlefront, stalwart in the face of loss, not quite dependent, if never independent, yet claiming space in the national crisis. For critics interested in how literature accomplishes what Jane Tompkins in Sensational Designs described as "cultural work," Stowe appears to have joined the late-twentieth-century conversation over the relationship between literature and culture. A Memoir of Miss Hannah Adams, Written by Herself with Additional Notices, by a Friend. They miss the humorous potential of their own material; they prove themselves incapable of sustaining the line of a narrative longer than a brief comment or two; they suggest that their only expertise lies in the realm of herbal remedies; and throughout, they demonstrate the general inability of women to be storytellers. A National Women's Hall of Fame inductee, Charlotte Perkins Gilman is also remembered for her semi-autobiographical work, The Yellow Wallpaper. Her stories ranged from children to adult demographics, and were featured in famous magazines including Vogue and Atlantic Monthly.
Thus the "conversion" of Uncle Lot's opinion of James replaces courtship as Stowe's organizing principle in the narrative; James tries to reach Uncle Lot behind the defenses he has created, the overlays of his "chestnut burr," and to convert him into a person capable of expressing feeling, that "substantial goodness within. Livermore — Harriet Prescott Spofford — Marion Harland — Mary Clemmer — Louise Chandler Moulton — Mrs. New York: Garland Publishing, 1998. Spofford is about to give a grand dinner to the lady contributors of the Atlantic? Authors included are: Harriet Beecher Stowe — Harriet Prescott Spofford — Rebecca Harding Davis — Edna Dean Proctor — Maritta Holley — Nora Perry — Augusta Evans Wilson — Louise Chandler Moulton — Celia Thaxter — Mrs. Foote Fordham, Mary Weston Magnolia leaves: Poems Harper, Frances E. This is an important point because it begins to explain why women were ambivalently accepted in the literary world and also how they might step beyond the prescriptions of separate spheres.
Women and the Work of Benevolence. Regional Sketches: New England and Florida , and the sketch appears in Fetterley and Pryse, eds. She broke into journalism in 1884 when she wrote of her experience being kicked out of the white passenger car on a train for which she had a first-class ticket. The tools of contemporary cultural theory can help the historian reconstruct the diverse meanings that once resided at this imaginative crossroads. Scruggs, Women of Distinction Raleigh, N. In 1892, The Yellow Wall-paper, based upon her own experience with 19th-century cures for depression among women. Angels in the Machinery: Gender in Elshtain, Jean Bethke.
Baldwin, on the other hand, clearly lacks the shooting ability to qualify as either effective storyteller or political man; as he demonstrates in his failure to execute the humorous "double cross-hop" step of his first sketch in Georgia Scenes, he cannot even dance Longstreet 21. In it she portrayed a woman's struggle to balance her married life and associated domestic responsibilities with her passion to become a painter. Harriet Beecher Stowe felt it appropriate to speak out against Lord Byron's sexual immorality. Like Ichabod Crane, James Benton is a newcomer to the village of Newbury, he "figured as schoolmaster all the week, and as chorister on Sundays," he makes himself at home "in all the chimney-corners of the region," devouring "doughnuts and pumpkin pies with most flattering appetite," and he generally "kept the sunny side of the old ladies" "Uncle Lot" 4, 6. His first practice as a raconteur began during the Connecticut years" King, Augustus 12 , with women, and likely the Beecher family, as his audience. It was unlikely that any woman was without a relative, friend, or acquaintance lost to the war. Today, her autobiography is regarded as the most in-depth slave narrative written by a black woman in America.
New York: Frederick A. Higonnet, Margaret Randolph, Jane Jenson, Sonya Michel, and Margaret Collins Weitz, eds. This autobiography traces her journey from slavery in Virginia and North Carolina to become the seamstress of Mary Todd Lincoln, wife of Abraham Lincoln, during her years as First Lady. The ideology of separate spheres seems to have arisen to justify these middle- and upper-class circumstances, though the concept was used as an ideal against which to judge people in all classes. Matthews Lyceum Journal M. Wells Barnett Ida B. Throughout the days of slavery and even after, the white man twisted the scriptures to suit his purposes.
Scruggs in his book Women of Distinction a work discussing noted Afro-American women made the observation that it was "a painful experience to see how little is known of our great women and their works. That uneasy relationship to the national struggle can help explain women's constant reference to their "place": even to speak in support of the ideological meaning of the war effort was to disturb its internal logic, and yet not to intervene in the crisis consuming the nation seemed to lack virtue as well. Legacy, A Journal of American Women Writers. For all the celebration of women's participation and its corresponding emancipatory effect, however, a few women writers described the actual consequences of the war in grim terms. Houghton's Mistake" demonstrates, even if through fiction, that there was a network among the women writers that sustained and encouraged each others' efforts. . In 2020 she was posthumously awarded the Pulitzer Prize for her reporting on violence against African Americans.
Women’s History Month: Female Authors Of The 19th Century
Keckley was judged harshly for revealing personal information about the First Family. Texas and the Gulf of Mexico; or Yachting in the New World. Her most famous novel was East Lynne 1861 have its own stage and film adaptations, and her novels were translated and read internationally. Houghton's mistake in not inviting "lady contributors" reflected the paradoxical nature of nineteenth-century beliefs about women writers. Stowe's text specifically reveals similarities between her village of Newbury, "one of those out-of-the-way places where nobody ever came unless they came on purpose: a green little hollow" "Uncle Lot" 2 , and Irving's "little valley, or rather lap of land among high hills, which is one of the quietest places in the whole world," a "green, sheltered, fertile nook" 272, 279.
In the following essay, Simson argues that the small amount of literary output available by nineteenth-century African-American women is deserving of scholarly attention. Secondly, and equally as important, this work offers an intellectual portrait of nine popular women writers by following them and their work through the war years and afterward. At a time when women were considered rebels and were forced to hide their identities in order to be authors, these women stand out and deserve our recognition. Jack London was an American novelist, social activist, and journalist. There is thus a great deal of evidence to suggest that Stowe begins "Uncle Lot" by invoking "The Legend of Sleepy Hollow. The little useless seam, the idle patch; Why dream I here beneath my homely thatch. Harriet Prescott Spofford, short-story writer and poet, intrigued the nation with her story "In a Cellar," published in the Atlantic in 1859, and continued to be prominent in literary circles for the rest of the century.