Saints Sinners And Sisters

A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints, ' 'Sinners, ' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints, ' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

Just like any dysfunctional family reunion, loyalty, love, and good times soon turn to bitterness, regret, and promises to never see one another again. At the end of the day, the Banks sisters are no different than any other family in the city of Richmond—other than the fact that they are rotten to the core. Sure, the girls are bonded by D.N.A, but they’re also tied together because of their past of robbing banks, extortion, drug dealing, and even cold-blooded murder. However, that bond means absolutely nothing to them. When it comes down to it, it is every sister for herself, even if it means throwing her siblings underneath the bus to avoid the consequences of their many crimes. Sisterly love be damned; this is survival!

Three sisters whose lives diverged find themselves close again, but the results aren't all good.

A “rich, varied, sensitive” biography of three nineteenth-century women: an educator, an early feminist, and the author of Uncle Tom’s Cabin (Publishers Weekly). Daughters of the famous evangelist Lyman Beecher, Catherine, Harriet, and Isabella could not follow their father and seven brothers into the ministry. Nonetheless, they carved out path-breaking careers for themselves. Catharine Beecher founded the Hartford Female Seminary and devoted her life to improving women’s education. Harriet Beecher Stowe became world famous as the author of Uncle Tom’s Cabin. And Isabella Beecher Hooker was an outspoken advocate for women’s rights. This engrossing book is a joint biography of the sisters, whose lives spanned the full course of the nineteenth century. The life of Isabella Beecher—who has never been the subject of a biography—is examined in particular detail here, as Barbara White draws on little used sources to explore Isabella’s political development and her interactions with her sisters and with prominent people of the time—from Susan B. Anthony and Elizabeth Cady Stanton to Mark Twain.

"A ... novel about two sisters--one the matriarch of a boisterous Irish Catholic family, the other a cloistered nun, hidden from the world--and the secret that drove them apart"--