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One of Sarah Orne Jewett's chief strengths as a writer is her uncanny ability to evoke a sense of place. The masterful stories collected in The Life of Nancy vividly depict the texture of everyday life among families in rural and coastal New England.
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The Lock on My Lips foregrounds gender, narrative and identity in its representations. It tells the story of a woman who defies traditional patriarchal boundaries that deny women their rights, most especially the right to landed property and buys land in her name. Discursive constructions, 'travelling concepts', metaphors, multiple perspectives, narrative, imagery, folklore, anthropological objects, and mixed-genre plot structure (narrative-(poetic)-drama), combine to tell the story of gendered beings and thus pave the way for exploring the interdisciplinary potentials of the play-text. Land and genre are gender markers. Land is definable through power and authority, constitutes the material with which masculinities are constructed, and thus becomes a space where women are excluded. The play equates land with patriarchal ideology of male virility and supremacy, but creates a mixed-genre fragmentary structure to disrupt the very patriarchal power erected through the metaphor of land.
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This is the fascinating story of a young girl from a very poor family who raised her head high and raised the dignity of women through her own personal and determined effort. She did not yield to the victimizations of corrupt minds, nor to the temptations of apathy and pessimistic thinking; rather she saw everything optimistically and through many hardships achieved her lifeÌs ambitions.
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