By Rebecca Rogers
The portrait of this impressive girl finds the position of ladies and women within the imperial tasks of the time and sheds gentle on why they've got disappeared from the ancient checklist on the grounds that then.
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Extra info for A Frenchwoman's Imperial Story: Madame Luce in Nineteenth-Century Algeria
Contrary to what Eugénie appears to have claimed, she was the sixth of seven children (rather than the twelve reported by Parkes), only five of whom lived into adulthood. Her oldest Growing Up in Provincial France sister, Marie, was born shortly after their parents’ marriage, followed in 1790 by the first son, named Sylvain (as familial tradition obliged). Marie Rougé was frequently pregnant or nursing a baby during the revolutionary decade, giving birth in 1794 to a daughter, Agnès Rose, known in the family as Louise; to a son, Martin Anselme, a year later, who lived only six months; and to another son, Jacques Étienne, in 1797.
The radical equality between the sexes that he advocated offered some the means to challenge traditional gender roles and inspired women to fight for a more egalitarian society. In the 1830s and 1840s Algeria attracted many Saint-Simonian officers and civil administrators, but the presence of women who shared their worldview has never been mentioned. Eugénie’s correspondence with Enfantin reveals a little-known aspect of early colonial Algeria: the fact that women also engaged in cultural politics.
Reconstructing a woman’s life a romantic family story Sometime during the winter of 1857, the British feminist Bessie Rayner Parkes encountered Madame Luce through the intermediary of her close friend Barbara Bodichon. In letters to England to sister feminist Mary Merryweather, Parkes mentioned Madame Luce several times and offers the first relatively lengthy description of her new acquaintance: Yesterday I spent part of the afternoon with Madame Luce who opened out and told me much of her private history.
A Frenchwoman's Imperial Story: Madame Luce in Nineteenth-Century Algeria by Rebecca Rogers