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Relevant bibliographies by topics / 'A Respectable Woman'

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Academic literature on the topic ''A Respectable Woman''

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "'A Respectable Woman'"

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Helmstadter, Carol. "Building a New Nursing Service: Respectability and Efficiency in Victorian England." Albion 35, no. 4 (2004): 590–621. http://dx.doi.org/10.2307/4054296.

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The main problem in staffing military hospitals with female nurses, Florence Nightingale explained in 1857, was to find “respectable and efficient women” who would be willing to undertake such work. Many women would apply for the positions but few would be acceptable. “Many a woman who will make a respectable and efficient Assistant-Nurse [the equivalent of our modern staff nurse] under the eye of a vigilant Head-Nurse, will not do at all when put in a military ward,” Nightingale said, because, “As a body, the mass of Assistant-Nurses are too low in moral principle, and too flighty in manner, to make any use of.” Nightingale thought that efficient and respectable assistant nurses had “in a great degree, to be created.” Developing respectability and efficiency in hospital nurses were the two major goals of nineteenth-century nursing reformers, and vigilant supervision was to be the major method for achieving them.

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Whitlock, Tammy. "Gender, Medicine, and Consumer Culture in Victorian England: Creating the Kleptomaniac." Albion 31, no. 3 (1999): 413–37. http://dx.doi.org/10.1017/s0095139000070629.

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In his Crime and Society in England 1750-1900 Clive Emsley notes that “for England the subject of the middle-class woman ‘kleptomaniac,’ as opposed to the working-class woman ‘thief,’ awaits an historian,” and casts doubt on the significance of the respectable shoplifter in England. However, not only is there ample evidence that middle-class shoplifting was a rising concern in Victorian England, it is a key example of the way in which gender ideology and medical science were constructed to solve a commercial and legal problem. Early in the nineteenth century, a respectable woman accused of shoplifting only had the option of denying her crime and blaming the shopkeeper; however, as the number of middle-class women committing retail crimes such as shoplifting and fraud increased, the issue of representation in the nineteenth century became more complicated. Woman’s role as aggressive consumer and her role in retail crime clashed with her home-centered image. In trials, canting ballads, and scathing articles, critics presented an image of the retail female criminal as greedy, fraudulent, and middle-class. Women fought against this image by denying their crimes or by participating in the creation of the developing representation of criminal women as ill rather than greedy.

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Farley, Ena L., and Jane E. Dabel. "A Respectable Woman: The Public Roles of African American Women in 19th-Century New York." Journal of American History 96, no. 1 (June 1, 2009): 228. http://dx.doi.org/10.2307/27694799.

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Sacks, Marcy S. ":A Respectable Woman: The Public Roles of African American Women in Nineteenth-Century New York." American Historical Review 114, no. 3 (June 2009): 764–65. http://dx.doi.org/10.1086/ahr.114.3.764.

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Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.

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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.

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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (October 5, 2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.

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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.

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Ansari, Nighat. "Respectable femininity: a significant panel of glass ceiling for career women." Gender in Management: An International Journal 31, no. 8 (November 1, 2016): 528–41. http://dx.doi.org/10.1108/gm-03-2015-0012.

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Purpose This study aims to explicate the role of “respectable femininity” norms in the work lives of professional women and investigate the extent to which they impact female career advancement (or lack thereof) by way of creating a clash with the traditional career management techniques of accumulating social capital and managing desirable impression. Design/methodology/approach The qualitative research design was deemed appropriate for the study to gain an insight of the incumbents’ work experiences. The opinions, thoughts, experiences and expressions of the participants were gauged through in-depth, semi-structured interviews to ensure the coverage of all the relevant aspects while retaining the flexibility to obtain rich and detailed data beyond the preconceived questions. Findings It was found that working women in Pakistan feeling guilty of violating the norm of “confinement to private spheres” appeared obliged to abide by the respectable femininity principles of “domesticity”, “restrained networking” and “toning down their femininity” to maintain an “honourable” reputation/image in the society; however, these norms, in turn, created a significant hurdle in their career advancement by way of constraining their capacity to exploit the career management techniques of accumulating “social capital” and employing “impression management” tactics. Originality/value This research will add credence to the scant literature pertaining to the role of “respectable femininity” in the professional lives of working women. The study showcases the female’s enigmatic struggle of becoming a “good woman” and a “successful careerist” at the same time which culminates in to a series of subtle barriers in their professional careers mounting ultimately to become a significant panel of “glass ceiling” in their progression.

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Abikeeva, Gul'nara Oyratovna, and Gulnara Oiratovna Abikeeva. "The Development of Female Characters in Central Asian Cinema." Journal of Flm Arts and Film Studies 2, no. 4 (December 15, 2010): 37–45. http://dx.doi.org/10.17816/vgik2437-45.

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The article explores the transformation of female images from the Soviet time till the Independence in Central Asian cinemas. The main images of woman of the Soviet East were determined by ideology: first to give her freedom from feudalism, then to educate. Later appeared other images - of heroic daughters of labor and war. There was no space for being just a woman. Only the image of respectable mother was the stable for the national cinemas and still represents the national cultural identity.

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Black, Lynsey. "The Pathologisation of Women Who Kill: Three Cases from Ireland." Social History of Medicine 33, no. 2 (August 23, 2018): 417–37. http://dx.doi.org/10.1093/shm/hky064.

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Summary Women who kill are frequently subject to discourses of pathology. This article examines the cases of three women convicted of murder in Ireland following Independence in 1922 and explores how each woman was constructed as pathologised. Using archival materials, the article demonstrates that diagnoses were contingent and imbricated with notions of gender, morality, dangerousness, and class. For two of the women, their pathologisation led to them being certified as insane and admitted to the Central Criminal Lunatic Asylum. However, pathologisation could be mediated by respectable femininity. The article also explores the pathways which facilitated judgements of pathology, including the acceptance of a framework of degeneracy, or hereditary insanity, and examines how women could be redeemed from the diagnoses of ‘insanity’.

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Hamessley, Lydia. "Within Sight: Three-Dimensional Perspectives on Women and Banjos in the Late Nineteenth Century." 19th-Century Music 31, no. 2 (November 1, 2007): 131–63. http://dx.doi.org/10.1525/ncm.2007.31.2.131.

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During the last decades of the nineteenth century, women figured prominently in a marketing campaign by banjo manufacturers who sought to make the banjo a respectable instrument for ladies. Their overarching aim was to "elevate" the banjo's status from its African-American and minstrel-show associations, thereby making the instrument acceptable in white bourgeois society. At the same time, stereoview cards, three-dimensional photographs produced by the millions, were a popular parlor entertainment featuring a variety of contemporary images, including women playing the banjo. Yet, instead of depicting a genteel lady in the parlor playing her beribboned banjo, the stereoviews presented humorous and sometimes risque scenes of banjo-playing women. Further, virtually no stereoviews exist that show the banjo played by a lady in a parlor setting. Through a study of stereoscopic depictions of women in a variety of scenes, I place these unexpected images of women's music-making in a context that explains their significance. In particular I examine the way stereoviews provide insights about the tensions regarding the position and status of women in late-nineteenth- and early-twentieth-century American culture as revealed in the figure of the New Woman. Typical of constructions of this threatening figure, stereographic images picture the New Woman wearing bloomers, riding bicycles, attending college, smoking, neglecting her wifely duties and children, and even indulging in lesbian eroticism. Yet, stereoviews are distinctive in that they also show the New Woman playing the banjo, and I argue that the link between the banjo and the New Woman had a decisive and negative impact on the effectiveness of the banjo elevation project. Through an examination of these three-dimensional views, and drawing on late-nineteenth-century writing and poetry about the banjo, I show how the banjo in the hands of the New Woman became a cautionary cultural icon for middle- and upper-class women, subverting the respectable image of the parlor banjo and the bourgeois women who played it. I place this new evidence in the context of Karen Linn's paradigm describing the banjo elevation project as one that sought to shift the banjo from the realm of sentimental values to official values. The figure of the New Woman does not fit within Linn's dichotomy; rather, she falls outside both sets of values. Often viewed as a third sex herself, in a sense mirroring the gender tensions surrounding the banjo, the New Woman helped to shift the banjo into a third realm, that of revolutionary and perhaps even decadent values. This study enhances what we know about the way musical instruments have been used to reconfigure attitudes toward gender roles in the popular imagination and furthers our understanding of the complex role women have played in the history of the banjo. Moreover, this evidence demonstrates how gender and sexuality can affect the reception of music, and musical instruments, through powerful iconographic images.

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Dissertations / Theses on the topic "'A Respectable Woman'"

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Fullerton, Kristi. "Respectable Woman." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459261307.

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Bate, Holmberg Elizabet. "In Search of Eros and Freedom : Four Portraits of Women by Kate Chopin." Thesis, Linköping University, Department of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19111.

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In this essay, Kate Chopin's portraits of women in three short stories, 'The Story of an Hour', 'A Respectable Woman', Athénaïse and the novel The Awakening are studied. It is argued that the outcomes depicted can be seen as increasingly provocative and extreme and that the main conflict and ending of The Awakening is a development and combination of the conflicts and resolutions in the three short stories.

I uppsatsen studeras Kate Chopins kvinnoporträtt i tre noveller, 'The Story of an Hour', 'A Respectable Woman', Athénaïse och i romanen The Awakening. Syftet är att visa att huvudhandlingen och slutet på The Awakening är en utveckling och kombination av de alltmer provokativa och extrema handlingarna och upplösningarna i novellerna.

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Whiteside, Heidi Joanne. "'We Shall Be Respectable': Women and Representations of Respectability in Lyttelton 1851-1893." Thesis, University of Canterbury. History, 2007. http://hdl.handle.net/10092/951.

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This thesis investigates the meanings and representations of respectability in Pakeha women's lives in nineteenth-century Lyttelton, New Zealand. Respectability was a form of gendered behaviour connected to ideals of appropriate femininity and women's proper place. It was one of the values on which Lyttelton was founded and respectable women had an important role from the beginning as agents of civilization. However, respectability was not solely a behavioural norm imposed on women and an examination of the forms of respectability in this growing colonial town reveals that women were active agents negotiating and contributing to definitions of respectability. The forms of respectability in Lyttelton were related to the town's character as a busy port, and the associated disorder contributed to divisions between respectable and unrespectable spaces. Women understood and represented respectability in different ways depending on their class position, social status, family responsibilities and involvement in the workforce. Not all women were able to conform to dominant norms of respectability, and others demonstrated an ambivalent commitment to ideals of respectable behaviour. The discourses of respectability in Lyttelton were complex and diverse, illustrating the anxieties and tensions of a migrant community.

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Cheikh, Meriam. "Devenir respectable: une jeunesse populaire féminine au prisme de l'économie intime, Tanger - Maroc." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209001.

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Whiteside, Heidi. "'We shall be respectable' : women and representations of respectability in Lyttelton 1851-1893 : a thesis submitted in fulfilment of the requirements for the degree of Master of Arts in History in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20070430.142337.

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Books on the topic "'A Respectable Woman'"

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Gregory, Philippa. A respectable trade. London: HarperCollins, 1997.

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Gregory, Philippa. A respectable trade. London: BCA, 1995.

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A Respectable Trade. Thorndike, Me., USA: G.K. Hall, 1995.

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A Respectable Trade. New York, NY: HarperCollinsPublishers, 1995.

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A Respectable Trade. New York, NY: HarperPaperbacks, 1996.

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Copyright Paperback Collection (Library of Congress), ed. The Defiant Miss Foster / A Highly Respectable Widow. New York: New American Library, 2003.

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A respectable woman: The public roles of African American women in 19th-century New York. New York: New York University Press, 2008.

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The Defiant Miss Foster / A Highly Respectable Widow. New York: Signet, 2003.

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L'Honnête femme: The Respectable woman in society and the New collection of letters and responses by contemporary women. Toronto: Iter Inc., 2014.

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Evans, Mary. Making Respectable Women. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60649-7.

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Book chapters on the topic "'A Respectable Woman'"

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Evans, Mary. "Chapter 3: Making the ‘Modern’ Woman." In Making Respectable Women, 41–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60649-7_3.

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Sæther, Maria Antonie. "The ideal of the respectable woman." In Social Class and Mental Illness in Northern Europe, 175–93. 1 Edition. | New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429432552-10.

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Evans, Mary. "Chapter 5: Judging Women." In Making Respectable Women, 91–97. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60649-7_5.

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Evans, Mary. "Chapter 1: The Context." In Making Respectable Women, 1–16. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60649-7_1.

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Evans, Mary. "Chapter 4: The Right Body." In Making Respectable Women, 71–89. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60649-7_4.

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Evans, Mary. "Chapter 2: Victorian Values." In Making Respectable Women, 17–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60649-7_2.

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White, Bonnie. "‘Respectable Women’: The Land Army in Scotland." In The Women’s Land Army in First World War Britain, 102–30. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137363909_6.

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Chopin, Kate. "A Respectable Woman." In The Awakening. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536948.003.0022.

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Mrs. Baroda was a little provoked to learn that her husband expected his friend, Gouvernail, up to spend a week or two on the plantation. They had entertained a good deal during the winter; much of the time had also been passed in New Orleans...

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"3. AMERICA AND THE STATE OF RESPECTABLE CHRISTIAN ROMANCE." In Between a Man and a Woman?, 61–94. Columbia University Press, 2010. http://dx.doi.org/10.7312/vief15620-004.

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Joseph, Ralina L. "“I Just Wanted a World That Looked Like the One I Know”." In Postracial Resistance, 83–107. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479862825.003.0004.

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Chapter 3 examines showrunner Shonda Rhimes’ twenty-first century Black respectability politics through the form of strategic ambiguity. Joseph traces Rhimes’ performance of strategic ambiguity first in the pre-Obama era when she stuck to a script of colorblindness, and a second in the #BlackLivesMatter moment when she called out racialized sexism and redefined Black female respectability. In the shift from the pre-Obama era to the #BlackLivesMatter era, this chapter asks: how did Rhimes’ careful negotiation of the press demonstrate that, in the former moment, to be a respectable Black woman was to perform strategic ambiguity, or not speak frankly about race, while in the latter, respectable Black women could and must engage in racialized self-expression, and redefine the bounds of respectability?

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Conference papers on the topic "'A Respectable Woman'"

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Xin, Liu. "A Short Analysis of Kate Chopin’s A Respectable Women from a Feminist Perspective." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.120.

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