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English Housewives in Theory and Practice, 1500-1640
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1991 English housewives in theory and practice, 1500-1640 Lynn Ann Botelho Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the European History Commons, and the Women's History Commons Let us know how access to this document benefits ou.y Recommended Citation Botelho, Lynn Ann, "English housewives in theory and practice, 1500-1640" (1991). Dissertations and Theses. Paper 4293. https://doi.org/10.15760/etd.6177 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Lynn Ann Botelho for the Master of Arts in History presented May 9, 1991. Title: English Housewives in Theory and Practice, 1500-1640. APPROVED BY THE MEMBERS OF THE THESIS COMMITTEE: Ann Weikel, Chair Susan Karant-Numr Charles A Le Guin Christine Thompson Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640. The methodology employed here was relatively simple. The first step was to determine society's expectations of a good housewife. To do so the publish housewifery 2 advice books written for women were analyzed to define a model English housewife. -
Improving Vision: the Moral Focus of the Sense of Sight in Seventeenth-Century Text and Textile
Improving Vision: The Moral Focus of the Sense of Sight in Seventeenth-Century Text and Textile JEAN LAMBERT In early modern culture, the eye was widely deemed to be the pre-eminent organ of the sensorium on account of its contribution to the intellectual and spiritual enlightenment of the individual. Paradoxically, however, it was also perceived as the faculty most vulnerable to dangerous errors and offences and, hence, principal conduit for vice and instrument of inducement to sin. Centring on the moral dimension of sight, this paper compares the representation of the sense of sight in a mid-seventeenth-century embroidered panel depicting the personification of sight and Richard Brathwait’s essay ‘Of Seeing’, published in 1625. It considers ways of seeing as inflected by the different idioms of needle and pen, including a re-presentation of the feminization of ocular vices. Specifically, it discusses the relationship between external and internal sight, the body’s eye and the soul’s eye, in connection with proffered monitory instruction on the proper moral function and spiritual object of the eye as prescribed corrective for improving vision. From antiquity onwards, sight was almost universally esteemed the noblest, most spiritual sense due to its affording the greatest benefit to the human soul through its vision of God’s creation. Significantly, during the latter sixteenth and much of the seventeenth century, the growing tendency in natural philosophy (general science and metaphysics) and medicine to understand the cognitive role of visual sensation in terms of the anatomy and physiology of the eye, the somatic rather than the spiritual aspect of the mind-body question, occurred within a moral context. -
A GENTLEWOMAN of BOSTON 1742-1805 Years Ago, When They Had
242 American Antiquarian Society. [Oct., A GENTLEWOMAN OF BOSTON 1742-1805 BY BARRETT WENDELL Years ago, when they had wax figures in the long since vanished Boston Museum, there was observed among them one marked "Catherine Wendell, a Beauty of the Last Century," or some such thing. Who she was nobody seemed to remember. The chances are that an old gown marked with her name had been found somewhere, put on a frame, sur- mounted by a wax head like those occasionally to be seen in shop windows, and then described as a portrait. Gown, head and all disappeared a good while before the last play was acted in the Lecture Room of the Museum. Even the memory of them has almost faded now. So nobody can tell whether she was the same Catherine Wendell who wrdte some letters for- gotten for more than a hundred years and lately found. One likes to fancy that she may have been. The letters are not remarkable to be sure, and after the fashion of the Eighteenth Century they are spelt and punctuated pretty much anyhow. Reduce them to formal shape though, without altering a syllable, and you begin to feel that the woman who wrote them, beauty or not, not only knew how to use the English language, but so used it through many years of declining fortune as to leave behind her traces of the quality which our ancestors used to call that of a gentlewoman. When she wrote the earliest of the letters she was already an old maid, as things went in the Eighteenth 1919.] A Gentlewoman of Boston. -
The Character of the Gentleman, Third and Much Enlarged Edition
r~" · '-l5'- r(;rfV~{ ttt ~LLLu O~, , \: . TIlE OHARAOTER 0' THE GENTTJEMA .N. BY FRANCIS LIEBER, C. ]on'::'llDER OF TUE ISSIITUTE OF FRAXCE, .o\.VTliOR OF" CIVIL UBERTY .\XD SELf-oOYERXMEX'I," ETC. 6::gi:rh /tit!) mutlJ (!;;n!lIrgtl) Itbition. PHILADELPHIA: J. B. LIP PIN COT T & 00 lSCi4. Euj'-'r. ~'rJ, arcqnling tf) _\ct of Ccmgt'(':-o"l, ill tIto y(~a.r 1'-)O:J~ by t'll.iXCI:; I.H:mm, ill tile Clerk':; Ofii{'{' of the' Distr'irt Court of the lillilt" l ;-:'tatC:-1 I:", flU' ~!)ntli('J'n nh;trict uf XI\\' YI)rl~. ADVERTISEMENT FOR THE THIRD EDITION. THE manuscript of the third edition, with many additions and some corrections, had been lying for years in the author's library, when recently he found that in 1862 this little work had been issued from the British press, with a preface by "E. B. Shuld ham, Ch. Ch. Oxon." Possibly a reprint of the English edition might be published in America, did not the author himself furnish the public with a new one. This is the reason why the present third, or, if the Engli1111 publication bc counted, fourth, edition, is now issued even in the midst of our civil war, which leads us to think of graver and far dif ferent things. I have retained the form of an address, for reasons given in the preface to the second edition; and I have not hesitated to add remarks which may ap pear as anachronisms in a discourse delivered so long ago as in the year 1846. -
Introducing and Translating the Court Lady
‘A Gentlewoman of the Courte’: Introducing and Translating the Court Lady Lisa Tagliaferri The Graduate Center, CUNY Abstract: Baldassarre Castiglione’s Book of the Courtier was a bestseller of the Renaissance period, inspiring an English translation by Thomas Hoby. Both texts include an extended discussion of the Court Lady, cultivate a female readership, and claim to have been written in part due to the intervention of ladies. However, the introductory materials written by both the Italian author and the author of the English translation render the role of the Court Lady contradictory and unclear, illustrative of the ideal described in Book III that is impossible to achieve, much like the ideal of the Courtier himself. Ultimately a vassal of the prince, the Courtier is in a position in which he must gain power chiefly through persuasion, and the books too have an interconnected power relationship with the women behind their respective publications. Through this grounding that yields the accountability for the works to women, both Castiglione and Hoby are able to appeal to Ladies and instruct them within the bodies of their texts, simultaneously affording them power and tempering it. By acting on the implicit suggestions of women and mixing inflated commendation of them with slight and nuanced disparagement, Castiglione and Hoby are able to convey a complicated relationship between two disenfranchised groups trying to negotiate their authority by both granting and withdrawing power from the other. A bestseller of the Renaissance period,