Tag Archives: women’s history

I Know Why the Caged Bird Sings by Maya Angelou (and Paul Laurence Dunbar)

I Know Why the Caged Bird Sings: A volume of memoirs (1970) by the African-American writer, singer, and actress Maya Angelou (1928-2014). Angelou borrowed her title—a metaphor for the African-American experience—from the US writer Paul Lawrence Dunbar (1872-1906):

I know why the caged bird sings, ah me,

When his wing is bruised and his bosom sore—

When he beats his bars and he would be free;

It is not a carol of joy or glee,

But a prayer that he sends from his heart’s deep core,

But a plea, that upward to Heaven he flings—

I know why the caged bird sings!

Paul Lawrence Dunbar: ‘Sympathy,’ in The Complete Poems (1895)

Dunbar may have been inspired by an earlier line:

When caged birds sing, when indeed they cry.

John Webster: The White Devil (1612), V.iv

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Matronym, Matronymic

“Matronym, Matronymic (noun): A name derived from that of one’s mother or a maternal ancestor, usually by addition of a suffix or prefix. Adjective: matronymic, matronymical; adverb: matronymically. Also METRONYMIC”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

The Heart Is a Lonely Hunter

The Heart Is a Lonely Hunter: A novel (1940) by Carson McCullers (1917-1967) of the ‘Southern grotesque’ school. It features a deaf-mute, to whom the other main characters wrongly attribute the faculty of inner serenity that they lack. The title is from the poem ‘The Lonely Hunter’ (1896) by Fiona Macleod (pen-name of William Sharp; 1855-1905):

My heart is a lonely hunter that hunts on a lonely hill.

 A rather pale film version (1968) was directed by Robert Ellis Miller.

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Jane Addams

“Addams, Jane: (1860-1935) Addams was an American sociologist of central importance to the work of the Chicago School in the late nineteenth and early twentieth centuries. A powerful influence on many other women in sociology, such as Charlotte Perkins Gilman and Emily Greene Balch, in 1889 she set up a social settlement in Chicago, Hull House, which was partly inspired by London’s Toynbee Hall, but more woman-influenced, more egalitarian, and less religious. She argued that one of the main problems for women was trying to manage the conflicting demands of family and society, and believed social settlements were one way to resolve the problem. Hull House was an important sociological center for the University of Chicago, and also attracted other leading social theorists, Marxists, anarchists, and socialists of the time. A spokeswoman for women and working-class immigrants in particular, Addams was a cultural feminist who believed female values were inherently superior to those of men, and argued that a more productive and more peaceful society could be built by drawing on, and integrating, such values. Her commitment to pacifism made her a social pariah during the First World War, although in 1931 she was awarded the Nobel Peace Prize.”

Excerpted from: Marshall, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

Sense and Sensibility by Jane Austen

Sense and Sensibility: A novel by Jane Austen (1775-1817), published in 1811. As in Pride and Prejudice, the title refers to two of the main characters: the sensible, quiet and dignified Elinor Dashwood, and her highly emotional and demonstrative sister, Marianne. ‘Sensibility’ is an 18th-century usage for ‘feeling’ or ‘sentiment.’

Miss Austen being, as you say, ‘without sentiment,’ without poetry, maybe is sensible (more real than true) but she cannot be great. Charlotte Bronte: letter to George Henry Lewes, 18 January 1848.

The film version (1995), directed by Ang Lee and with a screenplay by Emma Thompson (who also plays Elinor), was a surprise commercial hit.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Cultural Literacy: Victorian Period

Starting another morning, here is a Cultural Literacy worksheet on the Victorian Period in British history.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Miniskirts

Because teenagers struggle to imagine a time when the miniskirt was risque apparel, this reading on miniskirts has tended to be a high-interest item in my classrooms. This vocabulary-building and comprehension worksheet accompanies it.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, October 11, 2019, Hispanic Heritage Month 2019 Week IV: A Reading and Comprehension Worksheet on Eva Peron

Ok, in the ongoing observation of Hispanic History Month 2019 at Mark’s Text Terminal, here is a reading on Eva Peron and its accompanying vocabulary-building and comprehension worksheet. If you have students interested in the musical theater, this might be high interest material for them, given that Eva Peron’s life constitutes the source material for Andrew Lloyd Webber and Tim Rice’s musical Evita.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Delmira Agustini

Delmira Agustini: (1886-1914) Uruguayan poet. Together with Gabriela Mistral, Juana de Ibarbourou, Alfonsina Storni, and Dulce Maria Loynaz, Agustini is one of the key voices in the rich tradition of Spanish American poetry by women. Influenced by Ruben Dario’s Modernismo, her poetry is marked by sensuality and eroticism. Agustini published three collections of poetry: El libro blanco (1907); Cantos de la manana (1910); and Los calices vacios (1913). At the time of her death, she was working on Los astros del abismo (1954). Agustini’s biography has drawn almost as much attention as her writing. She was raised in cultivated and conventional surroundings in Montevideo, but was murdered by her estranged husband less than a year after their marriage.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Claribel Alegria

“Claribel Alegria: (1924-2018) Salvadoran writer, born in Nicaragua. Alegria has published poetry, novelas, and novels. Her work ranges from the intimate lyric to agonized denunciation of the horrors that have beset Central America. Her Sobrevivo (1978) won the Casa de las Americas award in poetry. She excels at a narrative poetry that that is compact, tender, fanciful, and even fantastic, Alegria deals with love, solitude, family life, and injustice from a political and feminist stance, as in La mujer del Rio Sampul (1987; tr Woman of the River, 1990). She has coauthored many books with her husband, Darwin J. Flakoll, particularly testimonial accounts of the Nicaraguan revolution and the lives of Salvadoran women. Cenizas de Izalco (1966; tr Ashes of Izalco, 1989) is a recreation of the peasant uprising of 1932. Luisa en el pais de la realidad (1987; tr Luisa in Realityland, 1987) is an experimental novel.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.