In a culture in which marriage was the desirable norm, and virginity was particularly prized in females, the categories 'virgin' and 'widow' held particular significance. This book investigates the uses of the category 'single woman'. The law gave unmarried women legal rights and responsibilities that were generally withheld from married women. The pervasiveness of religion and the law in people's day-to-day lives led to a complex interplay between moral and economic concerns in how medieval women were seen. As a result they were marked out as 'single women' in very different contexts, and his study reveals the multiplicity of ways in which dominant cultural ideas impacted on them.
Cordelia Lynn's play One For Sorrow was first performed at the Royal Court Theatre, London, in the Jerwood Theatre Upstairs, on 20 June 2018, in a production directed by James Macdonald.
Exposing the mind's deceptions and exploring how the mind defends and glorifies the ego, Dr. Fine illustrates the brain's tendency to self-delusion, whether it be hindsight bias, wishful thinking, unrealistic optimism, or moral excuse-making.
THE BRILLIANT AND HUGELY INFLUENTIAL BOOK BY THE WINNER OF THE 2017 ROYAL SOCIETY INSIGHT INVESTMENT SCIENCE BOOKS PRIZE 'Fun, droll yet deeply serious.' New Scientist 'A brilliant feminist critic of the neurosciences ... Read her, enjoy and learn.' Hilary Rose, THES 'A witty and meticulously researched exposé of the sloppy studies that pass for scientific evidence in so many of today's bestselling books on sex differences.' Carol Tavris, TLS Gender inequalities are increasingly defended by citing hard-wired differences between the male and female brain. That's why, we're told, there are so few women in science, so few men in the laundry room – different brains are just suited to different things. With sparkling wit and humour, Cordelia Fine attacks this 'neurosexism', revealing the mind's remarkable plasticity, the substantial influence of culture on identity, and the malleability of what we consider to be 'hardwired' difference. This modern classic shows the surprising extent to which boys and girls, men and women are made – not born.
Toronto Book Award Winner Cordelia Strube is back with another caustic, subversive, and darkly humorous book Stevie, a recovering alcoholic and kitchen manager of Chappy’s, a small chain restaurant, is frantically trying to prevent the people around her from going supernova: her PTSD-suffering veteran son, her uproariously demented parents, the polyglot eccentrics who work in her kitchen, the blind geriatric dog she inherits, and a damaged five-year-old who landed on her doorstep and might just be her granddaughter. In the tight grip of new corporate owners, Stevie battles corporate’s “restructuring” to save her kitchen, while trying to learn to forgive herself and maybe allow some love back into her life. Stevie’s biting, hilarious take on her own and others’ foibles will make you cheer and will have you loving Misconduct of the Heart (in the immortal words of Stevie’s best line cook) “like never tomorrow.”
Harriet is eleven, going on thirty. Her mixed media paintings are a source of wonder to her younger brother, Irwin, but an unmitigated horror to the panoply of insufficiently grown up grown-ups who surround her. She plans to run away to Algonquin Park, hole up in a cabin like Tom Thomson and paint trees; and so, to fund her escape, she runs errands for the seniors who inhabit the Shangrila, the decrepit apartment building that houses her fractured family. Determined, resourceful, and a little reckless, Harriet tries to navigate the clueless adults around her, dumpster dives for the flotsam and jetsam that fuels her art, and hopes to fathom her complicated feelings for Irwin who suffers from hydrocephalus. On the other hand, Irwin's love for Harriet is not conflicted at all. She's his compass. But when fate intervenes, it's Irwin who must untangle the web of the human heart. Masterful and mordantly funny, Strube is at the top of her considerable form in this deliciously subversive story of love and redemption.
Contains entries that provide information about various aspects of Latino popular culture, covering people, celebrations, food, sports, events, literature and film, fashion, and other topics; arranged alphabetically from M to Z.
A doting husband. A troubled writer. A loaded gun. It's 2019 and Hedda Tesman returns to a life she can't seem to escape from. After thirty years of playing wife, Hedda is bitter and bored. When her estranged daughter, Thea, suddenly reappears asking for help, the present begins to echo the past and Hedda embarks on a path of destruction. Hedda Tesman, by Cordelia Lynn, breathes new life into Henrik Ibsen's classic, asking what we inherit, what we endure and how we carry our history. A vital exploration of motherhood, power and sabotage, the play was produced by Headlong and premiered at Chichester Festival Theatre in August 2019, before transferring to The Lowry, Salford.
In a culture in which marriage was the desirable norm, and virginity was particularly prized in females, the categories 'virgin' and 'widow' held particular significance. This book investigates the uses of the category 'single woman'. The law gave unmarried women legal rights and responsibilities that were generally withheld from married women. The pervasiveness of religion and the law in people's day-to-day lives led to a complex interplay between moral and economic concerns in how medieval women were seen. As a result they were marked out as 'single women' in very different contexts, and his study reveals the multiplicity of ways in which dominant cultural ideas impacted on them.
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