Little women (1868) novel (Original Version)

Product Information

a b c Matteson, John (2007). Eden's Outcasts: The Story of Louisa May Alcott and Her Father. New York: W. W. Norton & Company. ISBN 978-0-393-33359-6. Tina – The young daughter of an employee of Mrs. Kirke. Tina loves Mr. Bhaer and treats him like a father. The Kirkes – Mrs. Kirke is a friend of Mrs. March's who runs a boarding house in New York. She employs Jo as governess to her two daughters, Kitty and Minnie. Amy is the youngest sister and baby of the family; she’s 12 when the story begins. Interested in art, she is described as a "regular snow-maiden" with curly golden hair and blue eyes, "pale and slender" and "always carrying herself" like a proper young lady. She is the artist of the family. [22] Often coddled because she is the youngest, Amy can behave in a vain and self-centered way, though she does still love her family. [23] :5 She has the middle name Curtis, and is the only March sister to use her full name rather than a diminutive. [24] Katharine Cornell became a star in the 1919 London production of de Forest's adaptation of Little Women

James Laurence – Laurie's grandfather and a wealthy neighbor of the Marches. Lonely in his mansion, and often at odds with his high-spirited grandson, he finds comfort in becoming a benefactor to the Marches. He protects the March sisters while their parents are away. He was a friend to Mrs. March's father, and admires their charitable works. He develops a special, tender friendship with Beth, who reminds him of his late granddaughter. He gives Beth the girl's piano. The principal character, Jo, 15 years old at the beginning of the book, is a strong and willful young woman, struggling to subdue her fiery temper and stubborn personality. [16] [17] Hannah Mullet – The March family maid and cook, their only servant. She is of Irish descent and very dear to the family. She is treated more like a member of the family than a servant. Cornell, Katharine (September 1938). "I Wanted to Be an Actress". Stage. New York City: Stage Magazine Company, Inc. p.13 . Retrieved December 28, 2018.Mercer, Charles (September 21, 1958). "Beth Lives in TV musical of "Little Women" ". Chicago Tribune . Retrieved February 23, 2017.

Other views suggest the title was meant to highlight the unfair social inferiority, especially at that time, of women as compared to men, or alternatively, describe the lives of simple people, "unimportant" in the social sense. [11] Plot summary [ edit ] Part One [ edit ] Cheney, Ednah Dow, ed. (1889). Louisa May Alcott: Her Life, Letters, and Journals. Boston: Applewood Books. p.190. ISBN 978-1-4290-4460-8. Lowery, June (Fall 2014). "Little Women (Les Quatre Filles du Docteur March)". Berliner Grundtheater Group . Retrieved January 31, 2016.

DISCOVER

In the late 20th century, some scholars criticized the novel. Sarah Elbert, for instance, wrote that Little Women was the beginning of "a decline in the radical power of women's fiction", partly because women's fiction was being idealized with a "hearth and home" children's story. [7] :197 Women's literature historians and juvenile fiction historians have agreed that Little Women was the beginning of this "downward spiral". But Elbert says that Little Women did not "belittle women's fiction" and that Alcott stayed true to her "Romantic birthright". [7] :198–199 By June, Alcott had sent the first dozen chapters to Niles, and both agreed that they were dull. But Niles's niece, Lillie Almy, read them and said she enjoyed them. [9] :335–336 The completed manuscript was shown to several girls who agreed it was "splendid.” Alcott wrote, "they are the best critics, so I should definitely be satisfied." [8] :37 She wrote Little Women "in record time for money," [7] :196x2 but the book's immediate success surprised both her and her publisher. [10] Explanation of the novel's title [ edit ] a b c Keyser, Elizabeth Lennox (2000). Little Women: A Family Romance. University of Georgia Press. ISBN 0-8203-2280-6. 'I am Jo, in the principal characteristics, not the good ones.' The girls keep busy as the war goes on. Jo writes a novel that gets published but is frustrated to have to edit it down and can't comprehend the conflicting critical response. Meg is invited to spend two weeks with rich friends, where there are parties and cotillions for the girls to dance with boys and improve their social skills. Laurie is invited to one of the dances, and Meg's friends incorrectly think she is in love with him. Meg is more interested in John Brooke, Laurie's young tutor. Kemp, Theresa, Beth Link, and Catherine Powell. “Accounting for Early Modern Women in the Arts: Reconsidering Women’s Agency, Networks, and Relationships.” Challenging Women’s Agency and Activism in Early Modernity. Amsterdam University Press, 2016, pp. 283-308.