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The Voice of Harriet Taylor Mill is a work about collaboration: Harriet's life with her lover, friends, and members of her family; Harriet's joint work with John Stuart Mill; and the author's interaction with the reader. Jo Ellen Jacobs explores and expands the concept of biography using Salman Rushdie's analogy of history as a process of \"chutnification.\" She gives Harriet's life \"shape and form -- that is to say, meaning\" in a way that will \"possess the authentic taste of truth.\" In the first chapter, the first 30 years of Harriet's life are presented in the format of a first-person diary -- one not actually written by HTM herself. The text is based on letters and historical context, but the style suggests the intimate experience of reading someone's journal. The second chapter continues the chronological account of HTM until her death in 1858. In an interlude between the first and second chapters, Jacobs pauses to explore Harriet's life with John Stuart Mill; and in the final chapter, she argues persuasively that Harriet and John collaborated extensively on many works, including On Liberty.

This paper advances a Millian concept of care by re-evaluating his defense of the \"common arrangement,\" or a gendered division of labor in marriage, in connection with his views about traditionally feminine capacities, time use, and societal expectations. Informed by contemporary care ethics and liberal feminism, I explicate the best argument Mill could have provided in defense of the common arrangement, and I show that it is grounded in a valuable concept of care for care-givers. This dual-sided concept of care theorizes care-giving both as a domain of human excellence and as labor with accompanying burdens. Liberal feminists should adopt this Millian concept of care, which can then inform principled thinking about distributive arrangements.

¿Hasta qué punto debe llegar la libertad individual? John Stuart Mill, defensor de este valor, sostuvo que no se podía ser libre para no ser libre y postuló como caso extremo el ejemplo de alguien que se vende voluntariamente como esclavo. Ese ejemplo ha generado un vivo debate sobre la consistencia de sus posiciones. Este artículo reseña ese debate y procura precisar los puntos de vista de Mill desde varias líneas convergentes: el paternalismo, la esclavitud, los derechos de propiedad y la intervención del Estado en la economía, y el matrimonio y la igualdad de género.

IN A SMALL BOOK SOLD ON A DOWNTOWN CAIRO street in 2002, at a stall that spilled across the pavement, a dialogue between female university students enacts the question of whether hijab is essential to the practice of one's faith as a Muslima, a female Muslim. In the book-as in common usage-hijab signifies modest dress, ideally (although not always) entailing loose clothing covering everything except face and hands, plus little or no use of cosmetics or conspicuous jewelry. The conversation among the book's characters takes place in a university quadrangle and ranges across different topics, drawing on sources from history, Qur'an exegesis, and hadith nabawi (attributed sayings of the Prophet Muhammad) to contemporary scandal and newspaper clippings. Some of the students are muhajjabat (hijab-wearing females) who draw books from their satchels in support of their arguments. Among them is Fatima who, along with her classmates, gradually persuades an uncovered classmate named Mayy to their argument that Islamic dress is inseparable from the correct practice of their shared faith. Mayy collapses into the arms of her muhajjabat classmates, overcome. Embracing her, they draw her away to a place of repose and contemplation for the purpose of adjusting her bodily and psychological contours to the coalescing landscape of the perfect society that can only be realized, the young women suggest, through the constant human performance of submission to the divine will. Adapted from the source document.

For many women friendship is, alongside the romantic and familial, one of the social pillars upon which their life is built. Women writers, culturally encouraged to promote the love plot and the domestic sphere, still integrate women’s friendship into fiction throughout space and time. Due to its obscured position, women’s friendship has been largely academically ignored, with some key exceptions. In contrast, men’s friendship has been well-theorised since Aristotle.This thesis closely reads the ways in which women’s friendship is depicted by American women writers of the first 75 years of twentieth century to answer the question, What is women’s friendship to women in literature? I argue women’s friendship is a space between two or more women which is produced by psychic (re)encounter and requires a play of closeness and distance in a way that is particularly marked in women’s friendship, and differentiates it from women’s other relationships. Friendship between women is a shared space of self and other co-creation.The thesis’ theory was produced through an engagement with feminist psychoanalysis and literary theory. In particular, I draw on Bracha Ettinger's theory of the matrixial, a feminist exploration of subjectivity, where the self and other is a relationship that can occur because it is a trace of being that begins with the first connection, that between fetus and mother, and repeats throughout a woman’s life. Ettinger’s primary engagement is with women and their art, most often painting, but I draw out the startling implications her work has for women’s friendships. Namely, Ettinger’s theory of the matrixial is used to understand women’s friendship as a re-encounter with subjectivity first encountered in the womb.This thesis closely reads The Awakening by Kate Chopin (1899), Passing by Nella Larsen (1929), Gone with the Wind by Margaret Mitchell (1937), The Haunting of Hill House by Shirley Jackson (1959) and Sula by Toni Morrison (1973). Although not emblematic, consideration of these novels alongside one another offers an engaging narrative of the first 75 years of the last century. The texts provide a range of perspectives, interpretations and genre approaches to the question of women’s friendship, as well as other interrelated issues of women’s personhood within time and place, especially in relation to sexuality, race and identity.I find that the texts construct women’s friendship as a process in which the I connects with an other through shared but different matrixial origins, where the I and the other both have interior lives and are exterior beings. There is a special alchemy to women’s friendship; in the novels examined in this thesis, that friendship is worldly and multi-directional, involving multiple participants. In this new theorisation of women’sfriendship, which is formed through the close reading of texts by American women writers in the twentieth century, women’s friendship is a space of repeated encounter, a space formative of the self, the other, and the world.

A short synthesis of the historical and sociological literature that has proposed explanations for differences in social mobility over the past three centuries is presented. Three forms of social mobility are examined: intergenerational mobility (between parent and child); social homogamy and heterogamy, or mobility at marriage (measured mostly between the father of a bride and the father of her groom); and then career mobility (taken over the course of a whole life).

[...]in doing so, by necessity it also references back to biological notions of men, women, and sexuality, even if only to move past such notions. [...]gender always brings to the fore a tension between claims of what “is,” based on a supposed natural order, and what “can be,” based on a recognition that natural orders are really always partly, if not wholly, socially constructed. Legal cases from the period, as well as an analysis of novelistic portrayals of domestic life, reveal that the portions of England’s common law dealing with “private” family matters involve shifting notions of gender and, at times, a snapshot of social engineering in progress. [...]literary responses to the great social evils of the nineteenth century, such as prostitution and the institutional flaws of the criminal justice system, include radical voices that demand greater enfranchisement for women in an effort to promote a more equal society. [ 7 ] Analyzing a “usual suspect” for discussions of law, literature, and gender—The Law and the Lady by Wilkie Collins—Catherine Siemann provides an innovative reading of the novel by arguing that its heroine, Valeria, successfully performs the role of appellate attorney, as well as the well-documented role of detective.

'Why should les gays insist on special treatment?' So the French legislature created the Pacte Civil de Solidarité (PACS), whose point is exactly that marriage is open to any two citizens. Negatively : men ought not to wear dresses ; gay men ought not to fall in love with women ; blacks ought not to embarrass the race; Muslims ought not to eat pork. [...] though he is, I believe, a sincere evangelical Christian, George Bush hasn't done - and probably won't do - much in changing the law on many of the so-called social issues that evangelical Christians might be thought to care about: stopping abortions, refusing to recognize lesbian and gay relationships in any way, and getting lots of mentions for God in public life.

While critics have scrutinized Emily Brontë's use of the framed narrative in Wuthering Heights (1847), raising questions about the reliability of the central narrators, Lockwood and Nelly Dean, scant attention has been paid to Isabella Heathcliff as the third narrator. Though readers have overlooked the importance of Isabella's narrative, Brontë highlights her narrative by including it as the only intact letter in the entire novel and devotes almost an entire chapter to her narrative. Isabella's narrative surfaces in a letter to Nelly Dean, offering a highly unorthodox portrait for the mid-Victorian period of the domestic abuse of a young bride from the gentry class. Isabella's letter, which comprises most of chapter 13, also becomes a critical tool to ferret out the reliability of Heathcliff's account in chapter 14 of their marriage. By analyzing the conflicting accounts of their marriage, this essay demonstrates that Heathcliff 's argument acts as a carefully crafted legal rationale, based upon the laws of coverture, to defend and sanction the domestic confinement of his wife. While the laws of coverture deprived women of a legal and economic voice, Brontë endows Isabella with a complex and at times ironic voice. Brontë paints a powerful portrait of the radical transformation of Isabella from the pampered and infantile Miss Linton to the hardened Mrs. Heathcliff, ending with her as the intrepid, fugitive wife, Isabella Heathcliff. Brontë demonstrates through Isabella's story that as long as the laws of coverture are intact, companionate marriage is at risk of being exploited and compromised.