Bad Girls: Sirens, Jezebels, Murderesses, Thieves & Other by Jane Yolen, Heidi E. Y. Stemple

By Jane Yolen, Heidi E. Y. Stemple

Meet twenty-six of history's so much infamous girls. each one undesirable woman has a rotten attractiveness, yet there are aspects to each story. make a decision even if Tituba was once fairly a conspiring witch or simply a humble housemaid. research the proof stacked for and opposed to Lizzie Borden. And what made the brazen Cleopatra so dishonorable . . . or honorable? every one bankruptcy ends with comedian panels that includes caricatures of the authors discussing the ladies, with Heidi arguing because the prosecution and Jane arguing for context.

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Extra resources for Bad Girls: Sirens, Jezebels, Murderesses, Thieves & Other Female Villains

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Roughly ten years later, Gibson’s vocal book (she also had a piano collection) begins with Italian opera pieces. Gibson lived in Fort Smith, Arkansas—far removed from the busy musical world of New Orleans or Charleston—but she acquired the latest pieces in both of her music books. As in Stedman’s collection, many works are connected with famous singers (see appendix, table 3). Several works by composers whose last name is Glover appear in Mary Gibson’s collection. The Glover family was an English one, with several composers among its members.

T H E BE L L E OF T H E OPER A Before proceeding to discussions of how young southern women experienced music, consideration of Joseph Chandler’s article “The Belle of the Opera, Essays upon a Woman’s Accomplishment, Her Character and Her Mission” will assist to define further the importance of music in the education of a young lady. A lengthy essay on womanly accomplishment and its usefulness, “The Belle of the Opera” takes as its point of reference a beautiful young woman at the opera, whose pictorial likeness precedes the article.

Well for my part,” says Mrs.  . “I don’t see what farmers’ wives have to do with them there sort of things. ”28 Clearly, women of this lower station do not know the rewards of being musically accomplished. Miss Bitterly later specifically derides Maria as an accomplished lady, but not in her presence. In fact, the village women who criticize Maria have never even met her. This excerpt vividly shows the lines between those who are socially and culturally adept and those who are inferior. The Dawsons, in keeping their piano under trying economic circumstances, retained their elegance and thereby to a degree their social place.

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