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Gender Stories

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A particular interest in childhood rose since the eighteenth and nineteenth centuries by both philosophers as well as writers who depict childhood as a stage of innocence, unlike adulthood which is the stage of experience. This representation is developed in nineteenth century writings which witnessed specific gendered stories either for boys or girls. Those stories were meant to reinstate in the child the requirements of society from his gender in the future. A girl has to prepare herself to be a housewife whose place is the private sphere, or who will be the angel in the home, while a boy must prepare himself to the public sphere, to be the bread winner of the family. This leads us to the claim that children's stories are not ideologically …show more content…
The writer did write a gender story, but not only for girls, but also for boys. She introduces for girls the stories of the four March girls: Meg, Beth, Jo, and Amy, and introduces for the boys the character of Laurie, who is attracted to Jo at the beginning but ends by marrying her traditional sister Amy.

Laurie's character has a very complex presence in the text. He is a very refined boy. He has very "soft hands", as a typical aristocratic boy, as Amy notes about him. He lives with his grandfather, as his father left home and died due to the conflict between him and the grandfather. The father wanted to take music as his profession, this contradicted the will of grandfather, and therefore, he ran away because he was very much attached to music. That is why the grandfather always accuses his son of failure and warns Laurie against imitating his …show more content…
American boyhood is not synonymous with "jolly" at all. Parille points out that Laurie is not "jolly", instead, he is "wealthy and sad"(2009, p.33). This pressure imposed upon Laurie "is a defining feature of American masculinity in the nineteenth century" (Kimmel, p.ix). That is why Laurie is depicted as "a lonely, frustrated Youngman" (Parille, 2009, p.33) he lived in a male world dominated by his grandfather and his tutor, John Brooke who contributes to the grandfather's efforts to push Laurie into "a life he does not want" (Parille, 200, p.33). In this context, Brooke plays the role of the knight who tames the king's horse, with Laurie is the horse and the grandfather as the king (LW,

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