Far too radical, then and now: an examination of women’s body autonomy through the work of Elizabeth Cady Stanton and Margaret Sanger
Cast your vote
You can rate an item by clicking the amount of stars they wish to award to this item.
When enough users have cast their vote on this item, the average rating will also be shown.
Your vote was cast
Thank you for your feedback
Thank you for your feedback
Elizabeth Cady Stanton
Research Subject Categories::HUMANITIES and RELIGION::History and philosophy subjects::History subjects::History
MetadataShow full item record
AbstractIn this paper, I plan on showing the extraordinary and radical lives to two progressive feminists, Elizabeth Cady Stanton and Margaret Sanger, and how their platforms for women’s body autonomy are still valuable and necessary as women’s bodies are continuously dragged into politics. This paper will explore just how politicized women’s rights to their own bodies has been, through the necessity of combating legal and social codes targeting women. I plan on comparing Stanton and Sanger, in their lives and activism, to see what aspects of their work made them valuable for the women’s rights movement. I will also bring the history of women’s reproductive rights into the present, and how similar Stanton and Sanger’s arguments for autonomy to the modern political climate concerning women’s autonomy.
The following license files are associated with this item:
- Creative Commons
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivs 3.0 United States
Showing items related by title, author, creator and subject.
Comedy and tragedy : a history of theatre as a reflection of social identityO'Grady, Ryan (2020-05)In The Poetics, Aristotle outlines the origins and history of Greek theatrical performance to set up his analysis of Tragedy as the successor to the Epic poem...As such, Aristotle, although most likely unintentional, frames Comedy and Tragedy as two genres that share little to no similarities other than being forms of theatrical performance. I acknowledge the two genres possess many differences in terms of plot structure, staging and the audience's emotional response, but these differences do not make them inherently oppositional. In fact, my paper will hopefully show by analyzing how Tragedy and Comedy functioned during eras when the theatre was a central artform in society--Greece, Rome, Renaissance England, and the post-WWII Theatre of the Absurd--that not only do these two genres share many similarities as art forms, but they also share the same communal function by reinforcing the ideologies of the time period.
Don’t keep it bottled up: an analysis of black glass wine bottles at Historic Huguenot Street New Paltz, NYSlater, Reuben (2019-05)Historic Huguenot Street in New Paltz New York has been a site of human activity stretching back well over nine thousand years, including the Native American Munsee speakers and the French Huguenots who settled New Paltz in 1677. Archaeological excavations over the past twenty years have helped to uncover the rich prehistory and history at the site. In this paper I introduce and examine seventeenth century English black glass wine bottles, as objects of analysis that help illuminate the material culture and foodways of these early Huguenots. Furthermore, I demonstrate how an analysis of this material culture and their foodways, excavated from Historic Huguenot Street builds a data set on the social and economic lives of the Huguenots that the written record does not. This paper will draw heavily from the theoretical framework of Louis Binford’s trinomic categorization of artifacts into the ideotechnic, sociotechnic and technomic spheres to analyze the artifacts in question and gain insight on the interaction between the Huguenots and the world around them.
Aaron Burr: villain to hero upgradePralat, Barbara (2018-05)The research project explores the historiography surrounding Aaron Burr. For most of United States history, he has been vilified as a traitor to the nation and the murderer of Alexander Hamilton. However, Aaron Burr’s reputation has been questioned through Gore Vidal’s novel: Burr, published in 1973, which humanizes Burr without taking away from his notorious reputation. Nancy Isenberg’s historical biography: Fallen Founder published in 2007, which explores Burr as a feminist and looking at the accusations against Burr in the political world. More recently the musical Hamilton by Lin Manuel Miranda, explores Burr as Hamilton’s first friend and someone who is sympathetic and wants to get ahead in life. Using both primary and secondary sources to trace the history of Burr’s reputation and to show if Aaron Burr is really a villain, based on his character and career. Included in the research is highlights of Aaron Burr’s life and events that led to his reputation being portrayed as negative. The paper explores how one of America’s most notorious founding fathers gained such a bad reputation and if he deserves this reputation or if he deserves a better reputation and belongs with the other founding fathers.