Download Appropriate Ing Dress: Women's Rhetorical Style in by Carol Mattingly PDF

By Carol Mattingly

ISBN-10: 0585464529

ISBN-13: 9780585464527

ISBN-10: 0809324288

ISBN-13: 9780809324286

Carol Mattingly examines the significance of gown and visual appeal for nineteenth-century ladies audio system and explores how girls appropriated gendered conceptions of gown and visual appeal to outline the fight for illustration and gear that's rhetoric. even if the most important to women’s effectiveness as audio system, Mattingly notes, visual appeal has been neglected since it was once taken without any consideration by way of men.


Because girls not often spoke in public sooner than the 19th century, no instructions existed concerning acceptable costume after they started to converse to audiences. costume evoked quick photos of gender, an important attention for girls audio system due to its robust organization with position, finding ladies within the family sphere and making a basic photograph that girls audio system could paintings with—and against—throughout the century. competition to conspicuous switch for girls usually necessitated the sophisticated move of comforting photographs while ladies sought to inhabit regularly masculine areas. the main winning ladies audio system conscientiously negotiated expectancies via highlighting a few conventions whilst they broke others.

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Extra resources for Appropriate Ing Dress: Women's Rhetorical Style in Nineteenth-Century America (Studies in Rhetorics and Feminisms)

Sample text

Now I am a man, I will not submit to it. Men have not enough strength of mind to resist the magic of woman’s appeal, when it is made to their gallantry.

For example, Susan Cooper, wife of James Fenimore Cooper, writes in early  of two women she met at one of Lafayette’s soirées. ” In contrast, Cooper takes note of the converted Quaker, Mrs. Opie (see fig. 5 Cooper writes fondly that their initial meeting with Mrs. Opie led to further pleasant visits. Cooper’s reaction underscores how closely dress and appearance were related with character in early-nineteenth-century America. Opie was herself an avid reformer who would later attend the  World Anti-Slavery Convention at which Elizabeth Cady  FRIENDLY DRESS Stanton met Lucretia Mott.

He scoffed at their “tight crimped caps, seven by nine bonnets, or that impenetrable drab that defieth utterly all amalgamation of color” (Barnes and Dumond ). And he scolded Angelina for her meticulous detail to dress, suggesting that she was “in great danger of making a little God out of your caps and dull color” and worried that making “a certain shade of color . . or arrangement of seams and angles [a] religion and principle” made them “slaves instead of rulers” (Barnes and Dumond ).

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