How to Make It as a Woman: Collective Biographical History from Victoria to the Present

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University of Chicago Press, 2004 M11 25 - 423 páginas
How to Make It as a Woman outlines the history of prosopography or group biography, focusing on the all-female collections that took hold in nineteenth-century Britain and America. The queens, nurses, writers, reformers, adventurers, even assassins in these collective female biographies served as models to guide the moral development of young women. But often these famous historical women presented untrustworthy examples.

Beginning in the fifteenth century with Christine de Pizan, Alison Booth traces the long tradition of this genre, investigating the varied types and stories most often grouped together in illustrated books designed for entertainment and instruction. She claims that these group biographies have been instrumental in constructing modern subjectivities as well as relations among classes, races, and nations.

From Joan of Arc to Virginia Woolf, Booth examines a host of models of womanhood—both bad and good. Incorporating a bibliography that includes more than 900 all-female collections published in English between 1830 and 1940, Booth uses collective biographies to decode the varied advice on how to make it as a woman.
 

Contenido

Of Prosopography and Collective Biographies of Women
1
Presenting Models of Womanhood
49
Heroic Types from Judith to Clara Barton
89
The Likes of Elizabeth Fry Mary Carpenter Dorothea Dix and the Three Mrs Judsons
135
Anna Jameson and Mutual Multibiography
175
FIVE The Worlds Fair Women or Racial Progress in the Nineteenth Century
197
Virginia Woolf and the Missing Canons of Biography
225
Feminist Prosopography
245
Notes
283
Bibliography of Collective Biographies of Women 18301940
347
Appendix to Bibliography
389
Index
397
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Acerca del autor (2004)

Alison Booth is professor of literature at the University of Virginia. She is author of Greatness Engendered: George Eliot and Virginia Woolf and editor of Famous Last Words: Changes in Gender and Narrative Closure.

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