By Sheila Hardy

A nostalgic, humorous examine what it was once rather wish to be a Fifties housewife during the tales of these who were

Being a housewife within the Nineteen Fifties used to be rather a special event from this present day. After the independence of the wartime years, ladies now needed to go away their jobs once they married and aid their husband by way of making a spotless domestic, scrumptious nutrition, and an inviting bed room. From inventive cleansing advice and ration-book recipes to domestic decor suggestion, the homemaking tools of the Fifties which are accrued right here supply an enjoyable and poignant perception into the lives of Nineteen Fifties girls. This ebook additionally deals heartwarming own anecdotes from girls who launched into married existence in this attention-grabbing postwar interval, delivering a visit down reminiscence lane for any spouse or baby of the Nineteen Fifties.

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Shakespeare’s play, too, is often seen as a paean to eternal, universal, transcendent love. And yet, analyzed from a historical point of view, it can be seen as an assertion of the birth of individualism against the feudal epoch. Romeo and Juliet defy the social divisions that forbid their love (between warring families, rather than between Giselle’s incompatible classes). Juliet’s refusal to comply with the feudal practice of arranged marriages participates in that defiance. The lovers’ deaths constitute a tragedy on a personal level, but on a political level they triumph, for they have succeeded in rejecting the outmoded, feudal political system that stifled individual choice in order to further the community’s and the family’s rigid socio-political codes and interests.

On the one hand, La Sylphide operates, in a broad sense, like a cautionary tale, warning that romance outside one’s social circle risks destruction and death. 25 But on the other hand, La Sylphide indulges forbidden wishes, allowing James to gambol with the woodland sylphs for the best THE ROMANTIC BALLET 23 part of the second act before he is killed. In this way, the ballet is reminiscent of so many crime stories whose final moral lesson—that crime does not pay—is preceded by waves of gratifying violence and mayhem.

The famous witch’s dance [sic], in the freezing moonlight in the ruined abbey, was as impressive as I expected…. They drop in like flakes of snow and are certainly very charming witches with their jaunty Parisian figures and most refined pirouettes! 51 Gautier’s description of Giselle’s second act shows just how close the Wilis were to the ghosts of the lapsed nuns in Robert le diable: With her characteristic melancholy grace [Adèle Dumilâtre, in the role of Myrtha] frolics in the pale star-light, which glides over the water like a white mist, poises herself on flexible branches, leaps on the tips of the grass, like Virgil’s Camilla, who walked on wheat without bending it, and, arming herself with a magic wand, she evokes the other Wilis, her subjects, who come forth with their moonlight veils from the tufted reeds, clusters of verdure, and calixes of flowers to take part in the dance.

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A 1950s Housewife by Sheila Hardy
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