ellauri003.html on line 681: Brigham &Women´s. Vakuutus. Kortit. Pankkikortti, ATM. luottokortti (Lauri).
ellauri038.html on line 210: In 1907, Karl Weber died, and left enough money to his granddaughter Marianne for the Webers to live comfortably. During this time, Marianne first established her intellectual salon. Between 1907 and the start of World War I, Marianne enjoyed a rise in her status as an intellectual and a scholar as she published "The Question of Divorce" (1909), "Authority and Autonomy in Marriage" (1912) and "On the Valuation of Housework" (1912), and "Women and Objective Culture" (1913). The Webers presented a united front in public life. Max defended his wife from her scholarly detractors but carried on an affair with Else Jaffe, a mutual friend.
ellauri038.html on line 212: In 1914, World War I broke out. While Max busied himself publishing his multi-volume study of religion, lecturing, organizing military hospitals, serving as an adviser in peace negotiations and running for office in the new Weimar Republic, Marianne published many works, among which were: "The New Woman" (1914), "The Ideal of Marriage" (1914), "War as an Ethical Problem" (1916), "Changing Types of University Women" (1917), "The Forces Shaping Sexual Life" (1919) and "Women's Special Cultural Tasks" (1919).
ellauri038.html on line 214: In 1918, Marianne Weber became a member of the German Democratic Party and, shortly thereafter, the first woman elected as a delegate in the federal state parliament of Baden. Also in 1919, she assumed the role of chairwoman of the Bund Deutscher Frauenvereine (League of German Women's Associations), an office she would hold until 1923. Also in 1920, Max's sister Lili suddenly committed suicide, and Max and Marianne adopted her four children. Shortly thereafter, Max Weber contracted pneumonia and died suddenly on 14 June 1920, leaving Marianne a widow with four children to raise.
ellauri038.html on line 218: Weber's career as a feminist public speaker ended abruptly in 1935 when Hitler dissolved the League of German Women's Associations. During the time of the Nazi regime up until the Allied Occupation of Germany in 1945, she held a weekly salon.[17] While criticisms of Nazi atrocities were sometimes subtly implied, she told interviewer Howard Becker in 1945 that "we restricted ourselves to philosophical, religious and aesthetic topics, making our criticism of the Nazi system between the lines, as it were. None of us were the stuff of which martyrs were made." Ymmärrettävää.
ellauri051.html on line 461: Women and Men, in wisdom, innocence and health--all joy! 70 Naiset ja miehet, viisaina, viattomina ja terveinä -- pelkkää iloa!
ellauri052.html on line 277: All in all, Pope’s characterization of women and his satirical telling of this incident paint a very negative picture of women. Women are shown as conniving, untrustful, illogical, and most importantly, inferior to men. Pope ridicules Belinda’s (Ms. Fermor’s) anger and does not seem to understand why women could get so angry over such a "trivial" matter. He does not respect female autonomy and buys in to the madonna/whore perception of women. The Rape of the Lock does a great injustice to women and only serves to perpetuate negative stereotypes and generalizations about female character.


ellauri052.html on line 688: Apparently his wife Frieda believed him to have had a sexual relationship with a farmer while writing Women in Love in 1916. There's also the coal miner quote you mentioned Kelby. Then there's the quote: I should like to know why nearly every man that approaches greatness tends to homosexuality, whether he admits it or not... (Älkää yrittäkökään! Mä en ole! Sitäpaizi mä en ole lähelläkään suuruutta! Pienenen kuin pyy maailmanlopun edellä.)
ellauri054.html on line 565: In 1846 Browning married the older poet Elizabeth Barrett and went to live in Italy. By the time of her death in 1861 he had published the crucial collection Men and Women (1855). The collection Dramatis Personae (1864) and the book-length epic poem The Ring and the Book (1868-1869) followed, and made him a leading British poet. He continued to write prolifically, but his reputation today rests largely on the poetry he wrote in this middle period.
ellauri061.html on line 205: Samuel Taylor Coleridge felt that Helena is guilty of "ungrateful treachery" to Hermia. He thought that this was a reflection of the lack of principles in women, who are more likely to follow their own passions and inclinations than men. Women, in his view, feel less abhorrence for moral evil, though they are concerned with its outward consequences. Coleridge was probably the earliest critic to introduce gender issues to the analysis of this play. Kehler dismisses his views on Helena as indications of Coleridge's own misogyny, rather than genuine reflections of Helena's morality.
ellauri067.html on line 502: Pynchon´s early story Low-lands contains general immaturity, and racist, sexist and proto-Fascist talk. It´s his own voice in Pig Bodine, a notoriously bigoted and asinine sailor who recurs in later novels. The claims of racism and proto-Fascism are hardly substantiated, while the misogyny is pervasive. Women are considered as semi-inanimate objects upon which men have a right (or even a duty) of possession, imposition or defilation.
ellauri069.html on line 71: He was an adept of irony and deflection in person as well as on the page, a lonely and, at some level, unhappy man who needed humor and companionship. But he had, his friend Pynchon told Daugherty, “a hopeful and unbitter heart.” Women seem to have found him easy to like. He married four times and had at least two long-term relationships between the marriages. He was dependent on alcohol, and he was dependent on work. He wrote every morning and had his first drink around noon.
ellauri070.html on line 83: However, a 2016 documentary came right out and stated that Grant was gay. The film, Women He's Undressed, about the three-time Academy Award winning costume designer Orry-Kelly, acknowledges Grant was in a gay relationship with the designer in the 1920s.
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Women: A Hate Song

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