Female dominance and cuckolding within a formerly loving marriage is the theme of Clarice Darling's "Beloved Husband to Servile Cuckold"; while the downfall and enslavement of a former surveillance operative caught spying on his three college-girl lodgers is Carl Lindant's preoccupation in "All the Nice Girls. Female dominance and cuckolding within a formerly loving marriage is the theme of Clarice Darling's "Beloved Husband to Servile Cuckold"; while the do These novels contain adult material.
Seldom has the shift of power at the workplace been so degradingly depicted as it has in Darren Garroway's tale of a smug womaniser who finds himself enslaved by his new female boss to become"A Corporate Serf"; while the queen of the cuckolding novel Clarice Darling's "Beloved Husband to Servile Cuckold" takes a different, if no less humiliating, approach with her study of an older man placed in abject servitude to his wife, her stepmother, and the demonic African partner of his wife's lover. This is book-five in the "Companions in Femdom" collection.
Seldom has the shift of power at the workplace been so degradingly depicted as it has in Darren Garroway's tale of a smug womaniser who finds himself In volume-four of the "Venus on Top" collection, Clarice Darling tells the tale of a loving but exceptionally cruel and cuckolding wife in "Husband to Cuckold And guess which gender is on the wrong end of all three.
In volume-four of the "Venus on Top" collection, Clarice Darling tells the tale of a loving but exceptionally cruel and cuckolding wife in "Husband to Female domiination of the male, from the leafy English suburbs to the parched Indian subcontinent, is the theme of the two novels comprising book-four in the "As Flies to the Spider" collection. Female domiination of the male, from the leafy English suburbs to the parched Indian subcontinent, is the theme of the two novels comprising book-four To increase their success in this highly competitive field, black troupes often advertised themselves as truthful delineators of authentic plantation life.
The result was that an entire generation of black performers helped to perpetuate and confirm racist fantasies and stereotypes in mainstream American culture. The rise of vaudeville in the U. African-American Bert Williams — had begun in minstrelsy where he learned the necessity of blackening his light complexion to please white audiences. In vaudeville, Williams teamed up with George Walker c. Williams and Walker faced a social and cultural world more hostile to black equality and ambition than at any time since slavery.
In New York, African Americans were excluded from most restaurants and hotels and rigidly segregated in theatres and other places of public amusement, if allowed in at all.
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Middle-class white fears of black potency and violence would soon reach their dubious acme in with The Birth of a Nation , D. With In Dahomey in , however, Williams and Walker moved part of the setting of their comedy to Africa to poke gentle fun at white American ways and to locate a utopian space for black dreams Figure 2.
This idea was more fully realized in with Abyssinia , a lavish production capitalized by white businessmen, featuring music by Will Marion Cook and Alex Rogers. Thinking he is an American prince, the Emperor of Ethiopia invites Rastus and his friends to a feast. Comic misadventures, onstage camels and donkeys, and exotic dances and romances soon follow before the pair bid farewell to their African hosts. Abyssinia kept Williams and Walker in their stock, minstrel-derived roles, but, by changing the locale of the show, the duo induced black spectators to imagine a place where people of color ruled and where African Americans might be treated at least temporarily with respect and even honor.
Seated in the segregated second balcony of a Broadway theatre, black audience members might imagine a utopian space for their hopes. On the other hand, the musical did not seriously challenge white racist beliefs; to do so would have doomed it at the box office. Blackface acts continued to amuse white audiences into the s, when African-American activism and cold war concerns gradually exposed the racism under the burnt cork. Until then, however, some of the premiere performers of popular entertainment on stage and screen paraded their talents in blackface — including Al Jolson, Eddie Cantor, Mickey Rooney, and Judy Garland.
Please note: data and opinions on websites may not have been subject to review by experts. Material on websites should always be checked against scholarly books and articles such as those cited below. Boskin, J. Cockrell, D. Jameson, F. Krasner, D. Lott, E. Roediger, D.
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Toll, R. Woll, A. When the play premiered in , its story of a wife abandoning her husband and children shocked audiences in Scandinavia, Germany, and England. One controversy over A Doll House even caused Ibsen to write an alternative, sentimental ending in which Nora, after looking in on her children one more time, falls to her knees, unable to leave. Ibsen despised this ending but preferred to do it himself when a German actor threatened to provide her own ending in which Nora did not leave. Revisions that softened the ending of the play were being done as late as But the play has continued to present serious problems of its own making.
Actors playing Nora struggle to make credible the journey of the obedient Victorian wife of the first part of the play to the independent woman at the end. To explore this issue, we must first consider what the materialist critic describes as the myth of liberal humanism, an ideology deeply embedded in Western life. For those who subscribe to this, life is a kind of divinely ordained game plan that rewards spunk.
However, such an account of reality obscures or omits the material conditions that limit the scope of individual agency. Spunk may count for little if you are a female in a male-dominated business. Like television commercials, such an account comes with no label warning you that your dreams of economic autonomy may be illusory. The advertisement image of driving an SUV over a rocky mountain trail to a secluded beach is in stark contrast with the material realities of commuting in daily through urban traffic to the job that allows you to make the payments on it.
To be sure, Ibsen unfolds with sophisticated craft the material circumstances entrapping Nora. In the first scene, we see Nora as a homemaker, blissful shopper, and practiced manipulator of her husband — using the only powers and making the only choices that she has in her culture. Her responsibilities are to please her husband, buy Christmas gifts for her children, and ready the tree.
Nora, however, has long since known how to play upon her sexuality and take advantage of the inconsequentiality men assign to her, as she does when she manipulates her husband to get the extra money that she will use to pay off her secret loan. Her husband is sovereign in the household; on his side are the full force of tradition, state law, and scriptural passages on wifely obedience by St.
Paul Ephesians , 5: 22— What marginal power Nora has she derives from the ways a male-dominated culture constructs her: she is sexualized on the one hand and idealized on the other, subject in both to the pleasure and convenience of men. Male-constructed capitalist and domestic formations encircle her. The play takes place during Christmas, a traditional Christian family feast day. At the piano, Dr.
Were Nora a material girl of the s — by which I mean to say, were she an actual person functioning within all the social formations of the time — she would have had no access to an education or job-ladder that would have trained her to head a bank. As a married woman in Norway in , she could own property only jointly with her husband. Krogstad knows her secret and knows how to ruin Nora.
Desperate in the face of his blackmail, she briefly considers suicide but has not the courage.
She resorts to sexually tantalizing the dying Dr. Rank, trying to extract money from him the silk-stocking scene in Act 2 — once omitted by some translators. So far from understanding that her subterfuge was for his sake, Torvald explodes in rage about the loss of his honor. This is, in effect, to do nothing less than deconstruct her social identity. Late nineteenth-century feminists admired the play and predicted that it would have reformative effects. Job prospects for real Noras were very poor. Census data for four French cities at the end of the nineteenth century show that one out of every two women was single, widowed, or divorced, and therefore seeking employment.
In England in , 40 percent of the women who were working were domestic servants; 22 percent were textile factory operatives. In the cotton mills of Glasgow and Manchester, staffed largely by women and children, average wages were between 11 and 12 shillings a week.
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The low wages — not the hard work — drove many such women to prostitution. Ibsen does bring into focus briefly the material circumstances of two other women within his play. Linde married her husband not for love which astonishes Nora but because her mother was bedridden, and she had two younger brothers to support. But when she walks out the door, she will be subject to the same employment conditions. In the late s, courageous women were leading movements in Europe and the U. One could find no more relevant and poignant example than the real-life case of the woman on whom Ibsen based Nora.
She visited him in Dresden in , and they apparently came to know each other very well. After she married, her husband became ill with tuberculosis, and she was advised to take him to a warmer climate to save his life.
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To do so, she secretly obtained a loan on the security of a friend. Her husband survived, but two years later Laura sent a manuscript to Ibsen, written hastily under the pressure of needing to pay off her loan, begging his help to get it published. Ibsen judged it a poor work and declined. Laura then burned the manuscript and forged a check to pay off the loan.
When the forgery was discovered, she told her husband what she had done. She suffered a nervous breakdown, and her husband had her committed to an asylum. The very form of modern realistic tragedy perpetuates the ideology, as Raymond Williams has shown. Realism purports to be clinically life-like, providing a transparent window on events. But realism hides its craft-wise operations. With its focus on character psychology, it is not a mode well suited to showing how social formations have been constructed or how they might be dismantled.
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It is not that realism would do so if it could; it cannot and still meet the requirements of the form. Such plays are rites of sympathy for the victims. For the materialist critic, it is not enough to leave the theatre having feasted on empathy and fatalism. Williams shows the inherent contradictions between all the talk of social reform in modern liberal tragedy and the invisible limitations of the form. He believed the title without the possessive points not just to Nora, as the doll, but to the entire household — husband, wife, servants, and the whole set of social formations to which all are subject Ibsen Figure 3.
In the final act, both were in anguish when the newly strong Nora determined that she must leave their home. Directed by Jackson Phippin and designed by Tony Straiges.
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