What Can We Learn From Source E?

The essay begins with Henry George referring to his audience as ladies and gentlemen. He then goes on to state that poverty is a crime. A crime not committed by the poor, but rather the poor as victims of the crime. He also does not wholly blame those perpetrating the crime, he also gives a kind of notion that the victim has a hand the situation he or she finds themselves in. He says the poverty is a curse that not only the poor have but is on every level of society even the rich. He says the rich also suffer because it is like the air all the community breathes. They too must breathe it.

In the past, equality was a word that was rarely acknowledged in society. Whether it pertained to gender, social life, or power; equality was not a recognized issue during the time period in which the novel, A Tale of Two Cities, was written. With so much going on during this period in France, the issue of inequality throughout the people’s lives was not important. In this novel, written by Charles Dickens, the idea of equality and inequality is illustrated throughout the text by not only the character’s actions and words but the author’s word choice as well.

In lines three through six, there are many examples of metonymies used. The “altar” represents religion, the “sword” represents the military, and the “pen” represents literature. In the next line “fireside” represents home or shelter. The speaker asses that England is not well-off,

In this essay I want to examine how the corset evolved from a staple of the British feminine wardrobe of the Nineteenth Century into a symbol of an outmoded tradition – only to later return as a statement of female liberation. I am going to look at different aspects of this development including technological advances, economic facts, external events, particularly the First World War and changes in social, political and aesthetic attitudes. I will also look briefly at the role of Chanel on the silhouette and how this impacted on the corset: focusing on the trend to towards ‘opulent androgyny’ in the 1920’s. Finally I will examine the resurgence of the corset

How does the film waver between middle-class values and street values? (Relate to excerpt from There Are No Children Here reading). How does one’s social class need to be a part of any discussion of law and inequality?

The Victorian Era depicted a traditional woman. Women were expected to be beautiful but conservative. A notable fashion piece to mention is the notorious corset. Krystal D’Souza states that corsets were meant to, “… accentuate a woman's breasts and hips, while cinching the body at the waist, and dramatically curving the back” (D'Souza). The corset was created to slim the waist and make the hips and bottom larger. This was meant to create the ideal, “Hour glass shape,” women were expected to have. In the Victorian Era, dresses were worn all the time and the skirt length had to be passed the ankles. Pagoda sleeves were essential to dresses to cover shoulders and high necklines were made to cover the women’s neck and décolletage. If the skirts were not touching the floor, skirts were closely worn over the hip and flared out just above the knee. (Joshi). The Victorian Age signifies a time period where women had to follow stringent dress codes. The thought of showing any feminine flesh was un-lady like and unrespectable. (Alchin “Women

A main factor in the storyline is the way the writer portrays society's attitude to poverty in the 18th century. The poor people were treated tremendously different to higher classed people. A lot of people were even living on the streets. For example, "He picked his way through the hordes of homeless

During the Tudor times in England, life was hard for the poor people while being more convenient for the rich. The poor inhabitants had small, dirty homes, usually with only one room for the whole family. They had homes made of straw; the rich could afford brick and had clean furniture with extra glass windows. According to these facts, the government should have donated more money and resources to the poor to maintain better homes. To begin with, the furniture and other appliances were very dirty.

Would it be enjoyable to live in a city where the streets were covered in horse manure and the air unbreathable due to soot? These were some of the conditions of Victorian Era London. In both “Dirty Old London” by Lee Jackson and “Great Expectations” by Charles Dickens, these disgusting conditions are discussed. London at this time was so filthy that it was difficult to live in for many reasons. Lee Jackson gives a detailed explanation of just how awful London was in his book “Dirty Old London”.

Math and literature work together to portray this theme by incorporating the Victorian Era’s strict social classes with geometric shapes. As in the book chapter three states all the social classes, “Our women are strait lines…our soldiers and lower classes of workman are triangles …. Our middle class consists of equilaterals. ..Our professional men and gentlemen are squares….nobility of whom there are several degree, beginning at

We see that Charles Dickens recognizes the poverty in the people. He describes the people as “… men with bare arms, matted locks, and cadaverous

And the pain. The laces were always tightened to the point where one could hardly breath...moving and eating would have surely been a problem. Which is kinda weird, given corsets were designed for social reasons.

The corset is a woman's tightly fitting undergarment extending from below the chest to the hips, worn to shape the figure. Generally what is thought of at the mention of corsets is a tiny waist and the restricted ability to breathe for the wearer. According to an essay published by the University of Virginia, “Too Close for Comfort: 500 Years of Corsets” (1998) as the name suggests up to the early 1900s corsets had been worn in western society for close to 500 years. Early corsets were not harmful to women and hid the natural

During the 1920's, the corset fell from favour, in America and Europe, to be replaced by girdles and elasticised brassieres. Initially regarded as lingerie, the corset is now regarded as outerwear amongst devotees of the fetish, BDSM and goth subcultures.

This investigation aims to reveal why portions of Western society sustained negative attitudes toward corsetry throughout the four centuries in which corsets were widely used. Corsets were worn under women’s clothes daily between the fifteenth and the twentieth centuries, and were used to protect the organs and improve the posture of men as well as correct scoliosis. After they fell out of use in the early 1900s, they continued to be a symbol of oppression and the macabre, and an analysis of the views of those who saw corsets that way reveals medical misinformation and a misogynistic view of women to be the source of distrust of corsets.