Kate Chopin

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Chopin, Kate (b. Katherine O'Flaherty)

(1851–1904) writer; born in St. Louis, Mo. She returned to St. Louis to write professionally after the death of her husband, a Louisiana planter (1882). Her Creole tales (Bayou Folk (1894), A Night in Acadie (1897)) established her as a leading "local color" author. But after her novel The Awakening (1899) was attacked for its honest portrayal of a woman's unrepentant sexual passion, she virtually stopped publishing and was not rediscovered until the 1960s.
The Cambridge Dictionary of American Biography, by John S. Bowman. Copyright © Cambridge University Press 1995. Reproduced with permission.
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Why did it take so long for Kate Chopin to be recognized?
"Mother and Child: Realism, Maternity, and Catholicism in Kate Chopin's <i>The Awakening." Religion and the Arts</i> 7.4 (2003): 413-38.
From a literary point of view, Kate Chopin, she states (67), must be placed between two generations of American women writers: the novelists born at the beginning of the century, whose work is published before the Civil War (Harriett Beecher Stowe, Susan Warner, E.D.E.N Southworth) and those like Louisa May Alcott and Elizabeth Stuart Phelps, who began to publish in the years after the civil conflict.
"Kate Chopin and the Birth of Young Adult Fiction." Defining Print Culture for Youth: The Cultural Work of Children's Literature.
Like the last lines of Charlotte Perkins Gilman's "The Yellow Wallpaper," the ending of Kate Chopin's The Awakening seems always to be read in the context of gender inequality at the turn of the last century.
Though various interpretations of Kate Chopin's short stories have been suggested, no one, to my knowledge, has analyzed her work using the principles, ideas, concepts, etc., of general semantics (GS)--how language, thought, and action are interrelated.
The stories analyzed include works by Poe, Jack London, Saki, Kate Chopin and Nathaniel Hawthorne.
The theme for Leann Ledoux's advanced placement high school literature class this fall is inspired by the novel "The Awakening" by Kate Chopin and its protagonist, Edna Pontellier, who is said to possess "that outward existence which conforms - the inward life which questions."
In Part III Sue Asbee and Tom Cooper demonstrate how Kate Chopin makes music and narrative eat into and destabilize each other--leading not necessarily to a 'higher' stability such as (in intention) Wagner's Gesamtkunstwerk, but to insight into our unstable existence.
Like Moranna, women artists from Kate Chopin to Christiana Pflug have struggled to remain sane while trying to balance the demands of their craft with those of their family and with the conventions of society.
At the same time, he regularly ventures outside this periphery to point out the genesis and evolution of the themes; hence, Mary Anne Sadlier, Kate Chopin, and Mary McCarthy occasionally emerge.
My essay discusses Michel Foucault's theory on power in relation to Kate Chopin's "The Storm" and "Desiree's Baby." I argue that due to reversals of power, Chopin's oppressed female protagonists challenge patriarchal structures and position themselves outside of the strict social and moral codes of the nineteenth century that Foucault alludes to in The History of Sexuality.