the cult of sensibility
لما يجينا سؤال عن هالشي لازم نبدا فيه كتعريف
ولازم نذكر الأسماء مهمة مثل ماري
ولازم نتكلم عن دخول السنسبيلتي لعالم الرجال
وشلون صاروا بعد يستخدمونها مثل بيلك و ورودسوورث
A cult means a belief, held by a group or
section of society. 'Sensibility' is the quality of being 'sensitive' to, or feeling
the pain and joys of others. This quality was much praised in writers in
the Romantic Period. Poets showed this quality in their works. Thus,
Wordworth's poems describe the feelings of the poor rural people. But it was
not a quality only male poets had. Even women poets, like Wordsworth's sister,
Dorothy, show this in their poetry because they understood the suffering of
women best.
هالشي يتكلم عن معتقد في المجتمع وهو الاحساس بمعاناة الاخرين واحتياجاتهم
طبعا هالشي بدا مو بس كحركة نسائية ولكن الفيلسوف روسو كان اول شخص تكلم عنه
في كتابه العقد الاجتماعي واحساسه بالناس والفقراء ورغبته بالمساواة
المهم سيتوارت كيوران >>مهم حجدا تاخذون كلامه وتكتبونه بعد
راجعوا ملخصه في بريسينتيشن دكتورة شاكرة
يقول ان السينسبيليتي هو امر نسائي بحت وانه قدم للادب
يعني النساء عطوا الادب قيمة العاطفة <<اللي حكرت المراة في الدومستيك سفير
بدل لا يكون جامد ومنطقي فقط
السؤال ممكن يجي عن :
Cult of sensibility and politics
هالشي عبارة عن جزئية في جابتر 4
زيادة الخير خيرين ارجع احطه لووول
The
politics of sensibility
Perhaps
one of the strongest influences on cultural expectations of gender in the
period was the continuing influence of die eighteenth-century cult of
sensibility. Sensibility, the cult of feeling, arose in the eighteenth century
in response to philosophical theories that investigated the power of feeling to
communicate directly between people. At its height in the 1770s, sensibility
celebrated the man of feeling, endued with sympathy and pity, who felt deeply
in response to the suffering of others.
In focusing
on feeling, sensibility takes us into an internal world of psychology. Curran
argues that the link is a crucial one to understanding Romanticism when he
writes that the 'poetry of sensibility is at base a literature of psychological
exploration, and it is the foundation on which Romanticism was reared' (Part
Two, p.286).
It is
characteristic of sensibility in this form to represent women in semi-maternal
roles, and to value their qualities of kindliness and caring. The images of
women which it celebrates are one source of the figure of the domestic woman
that is so important within the culture of the Romantic period. Sensibility
produces a body of literature which seems at least to celebrate feeling
and femininity. Whereas some writers openly attack the values and conventions
of sensibility, others borrow its values and conventions but attempt to mark
these as masculine and as distinct from sensibility. Sensibility itself is seen
increasingly as self-indulgent in its celebration of feeling.
Many of
Wordsworth's poems return to the stock scenes of the literature of sensibility
- such as meeting an old man on the roadside, or hearing of the distress
suffered by a young woman. Yet Wordsworth's poetry also attempts to establish
his treatment of such scenes as new and different from that of the female
dominated literature of sensibility.
By the
1790s there were many who saw sensibility as an inadequate and clichéd response
to the problems of the poor and the old and of women and children.
Blake’s
woman is associated with sensibility and the reaction of the ‘eternal myriads’
is to flee. But Wordsworth attempts to redefine sensibility in male terms.
Women
writers can adopt quite different approaches to the questions of gender and
politics. Wollstonecraft and Helen Maria Williams represent two very different
responses to the French Revolution. Both writers welcome the Revolution in its
early stages and both are radicals. But whereas Wollstonecraft associates
femininity and sensibility with the corruption of the French aristocracy whose
rule has been overthrown, Williams links femininity and sensibility with the
spirit of the Revolution
itself.
Wollstonecraft like Blake rejects sensibility as an ineffectual response to
suffering.
Whereas
some women writers, like Williams, take their literary identity from
sensibility, others, like Wollstonecraft, see sensibility as at best an aspect
of femininity which is hard for women to escape, and at worst as a means to
celebrate all that is most false and decadent in the contemporary image of
women. As Curran has argued, sensibility is very significant in the emergence
of male Romantic poetry (see Part Two p.291).
The cult
of sensibility and the promotion of domestic woman as an ideal of femininity
show a concern with the place and role of women within society. This concern is
about the proper role of women grows in the 1970s.
the cult of separate spheres
معتقد اخر لكن يرى المراة مختلفة تكوينيا عن الرجل
ولازم تكون فقط للبيت وتربية الاطفال وما يحق لها
ان تدخل الحياة العامة يعني دورها منفصل عن دور الرجل
A 'Cult' means a belief, and 'spheres', types of activity.
Here, in your course, it refers to a belief held by society in Austen’s times,
that by nature and birth, men and women were set apart to play different
roles in society. Any change in these roles was unnatural. Thus women were
to take care of the household, and not to take up any profession outside the
home. For example, they were not to be writers. Any activity outside the
domestic would make them lose their balance of mind, as they were physically
unfit for this. This topic comes up for discussion in different chapters of
'The Realist Novel', when the writings of women are considered.
How the cult of separate spheres affected women?
شلون اثر ؟
طبعا اكيد التعليم
وهو ان التعليم المقدم للمراة سطحي
كيف تهتم بزوجها ؟
وتكون خوش مرة
The cult of separate spheres
The fears about the production of novels by women, especially that concern with readers who could become writers, are shared by other cultural commentators at the time. There seem to have been widespread fears about cultural decline, often linked to a perception that the role of women in the cultural life of the nation was increasing.
Private or domestic life in that time was valued and celebrated rather than public life. Fuseli saw the private and domestic spheres brought into the public domain.
The domestic woman was being increasingly celebrated by both male and female writers. This emphasis on the proper female sphere as that home and children is what is often described as the ‘cult of separate spheres’.
He thinks that great art is incompatible with this new subject matter and focus. Culture, Fuseli fears, is becoming feminized and so losing its capacity to produce great art.
The male commentator fears the way that the public sphere is becoming moulded by female tastes and interests, celebrating the domestic world of women rather than the public world of men.
Confinement to the domestic sphere seems to Wollstonecraft to bring with it dangers for women's intellectual and moral development. However, she also identifies and laments certain kinds of female power and influence.
Most commentators, however, whether male or female, believe that women belong within the domestic sphere. Even though the doctrine of separate spheres was increasingly enjoined on women in the early years of the nineteenth century, women did still have access co the public sphere. Writing was one way in which women could be simultaneously 'domestic' and public.
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