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Tripping the Prom Queen: The Truth About Women and Rivalry

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Susan Shapiro Barash

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“It's a fine, warm day,” Henry replied. “I thought a spot of fishing?” “Just the thing!” said Felix. “Will you join us, Lucy?” Lucy felt Kitty and Sophia staring at her. Well-bred ladies, evidently, did not fish. “Oh, no! I assure you, Mr. Crowley-Cumberbatch, I have given up those hoyden pursuits of my youth.” She turned to Toby. “I haven't been fishing in ages. I can't remember the last time.” “Really, Luce?” Toby sounded incredulous. “Henry—is it true?” Henry sawed away at a slice of ham. “If you count six days as ages, then I suppose it's true. But if you can't remember six days back, Lucy, and you've forgotten Felix's Christian name, I'm concerned for you. Perhaps you've been spending too much time with Aunt Matilda.”

“Lo sguardo delle donne assomiglia a certi congegni tranquilli in apparenza ma formidabili. Vi si passa vicino tutti i giorni pacificamente e impunemente, senza dubitare di nulla. Viene il momento in cui ci si dimentica anche che quella cosa è là. Si va, si viene, si sogna, si parla, si ride. A un tratto ci si sente presi! E' finita. Il congegno vi ha preso, lo sguardo vi ha catturato. Vi ha preso, non importa dove, né come, per una parte qualsiasi del vostro pensiero, per una distrazione. Un concatenamento di forze misteriose si impadronisce di voi. Vi dibattete invano. Non ci sono più soccorsi umani possibili. Cadete di ingranaggio in ingranaggio, di angoscia in angoscia, di tortura in tortura, voi, il vostro spirito, le vostre fortune, il vostro avvenire, l'anima vostra; e, a seconda che siate in potere di una creatura cattiva o di un nobile cuore, non uscirete da quella spaventosa macchina che sfigurato dalla vergogna o trasfigurato dalla passione.”

“It is not perhaps a question of truthfulness; it is rather a natural incapacity to think for herself, to take cognizance of herself in her own brain, and not in the eyes and in the lips of others; even when the ingenuously write into little secret diaries, women think of the unknown god reading--perhaps--over their shoulders. With a similar nature, a woman, to be placed in the first ranks of men, would require even higher genius than that of the highest man; that is why, if the conspicuous works of men themselves, the finest works of women are always inferior to the worth of the women who produced them.”

“...منذ نظم الشعراء شعراً..ومنذ أن قرأت النساء هذا الشعر ( ويجب أن نشكر لهن ذلك أعمق الشكر) سُميت النساء ملائكة، وبلغت هذه التسمية من التكرار أنهن من بساطة قلوبهن صدقنها، ناسيات أن هؤلاء الشعراء أنفسهم يمكن أن يضعوا نيرون (الإمبراطور المجنون الذي أحرق روما) في مصاف أنصاف الآلهة، في سبيل مال يحصلون عليه.”

“How can so many (white, male) writers narratively justify restricting the agency of their female characters on the grounds of sexism = authenticity while simultaneously writing male characters with conveniently modern values? The habit of authors writing Sexism Without Sexists in genre novels is seemingly pathological. Women are stuffed in the fridge under cover of "authenticity" by secondary characters and villains because too many authors flinch from the "authenticity" of sexist male protagonists. Which means the yardstick for "authenticity" in such novels almost always ends up being "how much do the women suffer", instead of - as might also be the case - "how sexist are the heroes". And this bugs me; because if authors can stretch their imaginations far enough to envisage the presence of modern-minded men in the fake Middle Ages, then why can't they stretch them that little bit further to put in modern-minded women, or modern-minded social values? It strikes me as being extremely convenient that the one universally permitted exception to this species of "authenticity" is one that makes the male heroes look noble while still mandating that the women be downtrodden and in need of rescuing. -Comment at Staffer's Book Review 4/18/2012 to "Michael J. Sullivan on Character Agency”