Луиза мэй олкотт: маленькие женщины

Writing career begins

In 1848, the family moved back to Boston, where Alcott’s mother founded an employment service. While Alcott
worked as a teacher and seamstress, she continued writing and was published before she turned twenty. Her poem «Sunlight» appeared in Peterson’s Magazine in September 1851 under the pseudonym Flora Fairfield. (A pseudonym is a fictitious name a writer sometimes uses to conceal his or her identity, especially if the writer is involved in different styles of writing.) Alcott published her first story, «The Rival Painters,» in the May 1852 issue of the Olive Branch, another leading magazine of the time. While these pieces were tame and sentimental, Alcott realized she could make money regularly to help support the family by submitting stories for magazines. Magazines wanted sensational (curious, unusual, emotional) stories, and Alcott began writing and submitting them under the pseudonym A. M. Barnard.

Alcott’s first book, Flower Fables, was published when she was twenty-three. The book collected stories she used when teaching and had written down for Ellen Emerson. Among other activities during this time, Alcott performed as an actress in free theater productions. She also wrote two plays during the mid-1850s. Nat Batchelor’s Pleasure Trip was accepted in 1855 and performed later at Harvard University in 1860. The Rival Prima Donnas, which she adapted from one of her short stories, was accepted by the Boston Theater in 1856 but never performed.

The late 1850s proved a harrowing time for Alcott. Violence had erupted in the United States over slavery and Alcott’s strongly abolitionist (antislavery) family helped provide refuge for runaway slaves. Meanwhile, Alcott provided care for her sister, Elizabeth, who died in 1858 after a long illness.

Адаптации

В кинотеатре

•  : Четыре дочери доктора Марча , Харли Кнолз
•  : Четыре дочери доктор марта по Кьюкору
•  : Четыре дочери доктора Марча , Мервин Лерой
•  : Четыре дочери доктора Марча , Бруно-Рене Учес
•  : Четыре дочери доктора марта по Джиллиан Армстронг
•  : Четыре дочери доктора марта по Clare Niederpruem
•  : Дочери доктора Марч от Греты Гервиг

По телевидению

•  : Четыре дочери доктора Марча , телесериал Алана Бромли
•  : Четыре дочери доктора Марча , телефильм Дэвида Лоуэлла Рича
•  : L’Héritière ( Наследование ), телефильм Бобби Рота
•  : На все золото в мире , адаптация ТВ от Graeme Campbell нового года старомодным благодарения

Анимация

•  : Четыре дочери доктора Марча (короткая версия), японский мультсериал
•  : Четыре дочери доктора Марча (полная версия), японский мультсериал
•  : Маленькая хорошая женщина (продолжение японского сериала 1987 года)

Famous Rejection Letter

After submitting her story «How I Went Out to Service» to publisher James T. Fields in 1874, Louisa May Alcott received a reply from him: «Stick to your teaching, Miss Alcott. You can’t write.»

When the American Civil War (1861–65) began in 1861, Alcott became determined to help the Union cause. The Civil War was a conflict that took place between the Northern states (Union) and the Southern seceded states (Confederacy). Alcott began working as a nurse in December 1862 at the Union Hotel Hospital in the Georgetown section of Washington, D.C. However, six weeks later, she contracted typhoid fever (a bacterial disease that causes fever, headaches, and intestinal problems) and had to stay at home. She suffered
there for three months before she could leave her room. Treatment for her illness left her with bouts of headaches for the rest of her life.

Upon regaining her health, Alcott quickly returned to writing. Letters she wrote to her family while serving as a nurse were published in 1863 as Hospital Sketches. Rich with detail and related by a witty narrator named Tribulation Periwinkle, Hospital Sketches relates the experiences of an idealistic young woman working as a nurse in a war hospital. She becomes more mature after viewing the horrors of war, but gains an important sense of balance between her imagination and the reality around her.

Hospital Sketches was well-received, providing Alcott with some clout with publishers and confidence as a writer. The following year, she published Moods, a novel she had completed in 1860. She trimmed back the original manuscript, and while some critics found the story uneven, the book was immediately popular and provided enough money for Alcott to travel to Europe. (Moods was later republished with both the original, complete text and the cut version.)

When Alcott returned from Europe in the summer of 1866, her family was in need of money. Alcott returned to writing anonymous stories for magazines. These stories, which often featured crimes and romantic entanglements, were never attributed to Alcott during her lifetime. Not until a 1943 article by Leona Rostenberg, «Some Anonymous and Pseudonymous Thrillers of Louisa M. Alcott,» was published in Papers of the Bibliographical Society of America, was Alcott revealed to have made money and written in the popular sentimental and sensational style. Most of the stories Alcott published anonymously or under the pseudonym of A. M. Barnard were documented and collected in publications after 1970.

Государственное образование

Она училась преподаванию в Боудойнской школе, государственной школе Бостона, начиная с января 1853 года. Приняв на себя обязанности Луизы в 1861 году, Мэй в течение месяца преподавала в первом детском саду, основанном Элизабет Палмер Пибоди, прежде чем вернуться к своей работе. Начиная с декабря 1860 года, Мэй была в Сиракузах , штат Нью-Йорк , где она преподавала раннюю форму арт-терапии в приюте доктора Уилбура ( Государственная школа Сиракуз ). затем вернулась домой в августе 1861 или 1862 года, чтобы начать преподавать искусство в школе Конкорд, которой руководил друг ее отца Франклин Бенджамин Сэнборн .

Early poverty

Louisa May Alcott was born in Germantown, Pennsylvania, on November 29, 1832. She was one of four daughters of Bronson Alcott, an educator and philosopher (one who seeks an understanding of the world and man’s place in it), and Abigail May Alcott. Her father was unsuited for many jobs and also unwilling to take many of them, and as a result he was unable to support his family. The Alcotts were very poor. Her father moved the family to Boston, Massachusetts, in 1834 and founded the Temple School, in which he planned to use his own teaching methods. The school failed, and the family moved to Concord, Massachusetts, in 1840.

Alcott’s father was a strong supporter of women’s rights and an early abolitionist (opponent of slavery), and his friends were some of the most brilliant and famous men and women of the day. His friends included Henry David Thoreau (1817–1862), Ralph Waldo Emerson (1803–1882), Margaret Fuller (1810–1850), and Theodore Parker (1810–1860). Alcott and her sisters became friends with these visitors as well, and were even tutored by them at times. This combination of intellectual richness and actual poverty helped Alcott develop her sense of humor.

Alcott soon realized that if she and her sisters did not find ways to bring money into the home, the family would be doomed to permanent poverty. In her early years she worked at a variety of tasks to make money to help her family, including teaching, sewing, and housework. At sixteen she wrote a book, Flower Fables (not published for six years), and she wrote a number of plays that were never produced. By 1860 her stories and poems were being published in the Atlantic Monthly. During the Civil War (1861–65; a war fought in the United States between the states in the North and the states in the South mainly over the issue of slavery), Alcott served as a nurse until her health failed. Her description of the experience in Hospital Sketches (1863) brought her work to the attention of many people.

Адаптации

Фильм

«Маленькие человечки» впервые были экранизированы в 1934 году с Эрин О’Брайен-Мур и Ральфом Морганом в главных ролях . Другой фильм последовал в 1940 году с Кей Фрэнсис . В 1998 году на экраны вышел канадский полнометражный фильм с Мэриэл Хемингуэй и Крисом Сарандоном в главных ролях .

Телевидение

В 1993 году в Японии прошел анимационный телесериал « Маленькие женщины 2: Мальчики Джо» , основанный на этом романе , который был переведен на несколько языков, хотя и не на английский. Канадский телесериал « Маленькие человечки» транслировался с 1998 по 1999 год в течение двух сезонов. Сюжет несколько изменен и выступает скорее как продолжение романа.

Other Works:

Moods (1865). Morning-Glories, and Other Stories (1868). Kitty’s Class Day (1868). Aunt Kipp (1868).Psyche’s Art (1868). Three Proverb Women, or Meg, Jo, Beth and Amy (1868). My Boys: Aunt Jo’s Scrap-Bag, I (1872). Shawl-Straps: Aunt Jo’s Scrap-Bag, II (1872). Work: A Story of Experience (1873). Cupid and Chow-Chow: Aunt Jo’s Scrap-Bag, III (1874). Silver Pitchers; and Independence, a Centennial Love Story (1876). A Modern Mephistopheles (1877). My Girls: Aunt Jo’s Scrap-Bag, IV (1878). Proverb Stories (1882). An Old-Fashioned Thanksgiving: Aunt Jo’s Scrap-Bag, V (1882). A Garland for Girls (1888). Recollections of My Childhood’s Days (1890). Comic Tragedies Written by Jo and Meg and Acted by the Little Women (1893). The Poetry of Louise May Alcott (1997).

Prolific writer

With the financial success of Little Women, Alcott took another trip to Europe. She returned to Boston during
the summer of 1871 after receiving news of the death of her brother-in-law. While she was in Europe, the editor of Merry’s Museum published Will’s Wonder-Book, a collection of eight stories by Alcott that were published when she worked for the magazine. The stories are based on animals and show the value of kindness and friendliness. Alcott was also active in the women’s suffrage (women’s right to vote) movement, writing for the Woman’s Journal, a women’s activist magazine. In 1879, she became the first woman in Concord to register to vote in the village’s school committee election.

Alcott turned forty in 1871 and spent what would be the last fifteen years of her life writing books and caring for her mother and father in their old age, as well as for other members of her family. She served as legal guardian of her sister May’s daughter and later adopted her sister Anna’s son. Alcott had a novel, A Modern Mephistopheles, published anonymously in 1877. The tale tells of a man who sells his soul to the devil. In 1887, a year before her death, Alcott gave permission for her publisher to reprint A Modern Mephistopheles under her name, along with «A Whisper in the Dark,» one of her early sensation stories.

Between 1870 and 1880, Alcott published many books, including five of the «Little Women» novels as well as six volumes of short stories under the title Aunt Jo’s Scrap-Bag. During this period, her mother died, and in 1879, following the death of her sister, May, Alcott took in May’s infant daughter. In 1882, Alcott’s father suffered a stroke, and Alcott cared for him as well.

In 1885, the family moved to Boston. The following year, Alcott published Jo’s Boys, and How They Turned Out (1886), a sequel to Little Men and the final book in the «Little Women» series. Alcott died on March 6, 1888, two days after her father died.

An avid readership of Alcott, particularly for Little Women, has continued through the generations. A year after she died, Louisa May Alcott: Her Life, Letters, and Journals provided more material for her adoring fans. The publication of Alcott’s sensation stories beginning in 1975 inspired interest nearly a century later in several adult novels she had published. Meanwhile, the sustained popularity of Alcott’s LittleWomen attests to the significance of the writer Alcott’s biographer Ednah Dow Cheney called «the Children’s friend.»

Луиза Мэй Олкотт список книг

К сожалению, далеко не все книги Луизы Олкотт переведены на русский язык. Поэтому после перевода некоторые названия могут отличаться от указанных. Но мы следим за ситуацией и при появлении таких произведений будем оперативно вносить изменения.

• Больничные очерки
• Джек и Джилл: Деревенская история
• Долгая роковая любовная погоня
• За маской или женской силой
• Истории из пословиц
• Книга чудес Уилла
• Наследование
• Настроения
• Начиная снова, продолжая работу
• Под сиренью
• Призрак Аббата, или Искушение Мориса Трехерна
• Работа: история опыта
• Современный Мефисофель
• Старомодная девушка
• Таинственный ключ и что он открыл

Восемь кузенов:

Маленькие женщины:

Сборники рассказов для детей

Анализ

Как реформист образования, Олкотт «оказывается настроенным на то, что в конечном итоге в двадцатом веке стало решением этого препятствия: дифференциация или идея о том, что все дети не должны учиться одним и тем же вещам». Например, использование Олкоттом перформанса и игры дома создает «вымышленную адаптацию аллегорического детского театра ее отца, домашняя драма становится неотъемлемой частью моральной борьбы повседневной жизни». Семейное театральное представление Олкотта «оказалось средством установления мира между ними, поскольку Луиза научилась использовать семейный театр, чтобы обуздать свои безумные требования личной свободы и привести себя в соответствие с домашним идеалом своего отца». Благодаря адаптации семейного театра персонажи « Маленьких человечков » «учатся рассматривать себя как маленькие садовые участки, на которых растут большие урожаи терпения, настойчивости и хорошего настроения».

An Excerpt from Little Women

Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large eyes, plenty of soft brown hair, a sweet mouth, and white hands, of which she was rather vain. Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt, for she never seemed to know what to do with her long limbs, which were very much in her way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful. Her long, thick hair was her one beauty, but it was usually bundled into a net, to be out of her way. Round shoulders had Jo, big hands and feet, a fly-away look to her clothes, and the uncomfortable appearance of a girl who was rapidly shooting up into a woman and didn’t like it. Elizabeth, or Beth, as everyone called her, was a rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a peaceful expression which was seldom disturbed. Her father called her «Little Miss Tranquillity,» and the name suited her excellently, for she seemed to live in a happy world of her own, only venturing out to meet the few whom she trusted and loved. Amy, though the youngest, was a most important person, in her own opinion at least. A regular snow maiden, with blue eyes, and yellow hair curling on her shoulders, pale and slender, and always carrying herself like a young lady mindful of her manners. What the characters of the four sisters were we will leave to be found out.

Избранные работы

Бюст Луизы Мэй Олкотт

Маленькие женщины серии

• Маленькие женщины , или Мэг, Джо, Бет и Эми (1868)
• Вторая часть книги « Маленькие женщины , или« Хорошие жены »», опубликованная в 1869 году; а затем опубликован вместе с « Маленькими женщинами» .
• Маленькие человечки : Жизнь в Пламфилде с мальчиками Джо (1871)
• Мальчики Джо и как они оказались: продолжение «Маленьких человечков» (1886)

Романы

• Наследование (1849, не опубликовано до 1997 года)
• Настроения (1865 г., переработка 1882 г.)
• Таинственный ключ и то, что он открыл (1867)
• Старомодная девушка (1870)
• Книга чудес Уилла (1870)
• Работа: История опыта (1873)
• Начиная снова, будучи продолжением работы (1875)
• Восемь кузенов или Тетя-Хилл (1875)
• Роза в цвету : продолжение восьми кузенов (1876)
• Под сиренью (1878)
• Джек и Джилл: Деревенская история (1880)
• Пословицы рассказы (1882)

Как А. М. Барнард

• За маской , или женская сила (1866)
• Призрак аббата, или Искушение Мориса Трехерна (1867)
• Долгая погоня за фатальной любовью (1866; впервые опубликовано в 1995)

Сборники рассказов для детей

• Мешок для отходов тети Джо (1872–1882). (66 рассказов в шести томах)
  • 1. Мешок для отходов тети Джо
  • 2. Шали-бретели.
  • 3. Амур и чау-чау
  • 4. Мои девушки и т. Д.
  • 5. Круиз Джимми в сарафане и т. Д.
  • 6. Старомодный День Благодарения и т. Д.
• Библиотека Лулу (1886–1889) Сборник из 32 рассказов в трех томах.
• Цветочные басни (1849)
• На пикете и другие сказки (1864)
• День учебы Китти и другие рассказы (три рассказа из пословиц) , 1868 г. (включая «День учебы Китти», «Тетя Кипп» и «Искусство Психеи»)
• Рассказы о прялке * (1884). Сборник из 12 рассказов.
• Candy Country (1885) (один рассказ)
• Майские цветы (1887) (один рассказ)
• Mountain-Laurel and Maidenhair (1887) (один рассказ)
• Гирлянда для девочек (1888). Сборник из восьми рассказов.
• Домовой и принцесса (2004). Сборник из десяти рассказов.

Прочие рассказы и повести

• Очерки больницы (1863)
• Страсть и наказание Полины (1863)
• (1863)
• Месть доктора Дорна (1868)
• La Jeune; или, Актриса и Женщина (1868)
• Графиня Варазова (1868)
• Романтика букета (1868)
• Смех и взгляд (1868)
• Затерянный в пирамиде или проклятие мумии
• Transcendental Wild Oats (1873) Короткий рассказ о семье Олкотта и Трансцендентальном движении.
• Серебряные кувшины и независимость: столетняя история любви (1876)
• Шепот в темноте (1877)
• Комические трагедии (1893, посмертно)

В популярной культуре

Маленькие женщины вдохновили версии фильмов в , , , и 2019 годах . Роман также вдохновил телесериалы в , , и годах и аниме- версии в и 1987 годах .

Маленькие женщины также вдохновили версию BBC Radio 4 в 2017 году.

Маленькие люди вдохновили версии фильмов в , и 1998 годах . Этот роман также лег в основу телесериала 1998 года .

Другие фильмы, основанные на романах и рассказах Олкотта, — «Старомодная девушка» (1949), «Наследие» (1997) и «Старомодный День благодарения» (2008). В 2009 году PBS выпустила серию American Masters под названием «Луиза Мэй Олкотт — женщина, стоящая за« маленькими женщинами »». В 2016 году Google Doodle автора была создана художницей Google Софи Диао .

Театрализованная версия Олкотта появилась как персонаж в телесериале « Дикинсон» в эпизоде ​​«Есть определенный уклон света», премьера которого состоялась 1 ноября 2019 года. Олкотт сыграла Зося Мамет .

Keeping a journal

Louisa May Alcott was born on November 29, 1832, in Germantown, Pennsylvania. She was the second of four daughters of Amos Bronson Alcott, a noted philosopher and educator, and Abigail May, a descendant of one of Boston’s more prominent families. The family moved to Boston, Massachusetts, in 1834 when Alcott’s father founded a school
based on some of his principles of education. Bronson Alcott believed that education should emphasize play and the imagination as activities through which children learn and develop physically, intellectually, emotionally, and spiritually. His educational system was too different from conventional educational practices of the time to become firmly established. The family was often in need of money, and they moved several times between Boston and Concord, Massachusetts.

Alcott and her sisters were taught at home by their father, who brought them into contact with some of America’s greatest writers, including Ralph Waldo Emerson (1803–1882), Nathaniel Hawthorne (1804–1864), Henry David Thoreau (1817–1862), and Margaret Fuller (1810–1850). The Alcott girls were required to keep journals, and together they wrote a family newspaper and plays in which they performed. Their education also included domestic skills, from housekeeping to sewing and clothes-making.

About the time Alcott turned eleven in 1843, the family joined a communal living experiment at Fruitlands, a farm in Harvard, Massachusetts. (Communal living involves several people or families who live together as a group—sharing work, expenses, and the fruits of their labor). Alcott wrote about the experiences in her journal, which were later published, in 1889, in Louisa May Alcott: Her Life, Letters, and Journals. She described life at Fruitlands as a kind of vacation, but later she would note the experiment failed because the adults were not prepared for the demands of farming.

The family moved back to Concord and lived there from 1845 to 1850. Beginning in her mid-teens, Alcott worked at such jobs as seamstress, governess, teacher, and servant. In 1848, at age sixteen, she taught neighborhood children in a school in Concord. Many of her lessons were conveyed as fairy tales. One of the students, Ellen Emerson, daughter of Ralph Waldo Emerson, loved the tales, so Alcott wrote them down for her in a notebook. Ellen’s mother, Lidian Emerson, read them and recommended that Alcott try to publish the stories.

Bibliography:

Anthony, K. S., Louisa May Alcott (1936). Auerbach, N., Communities of Women (1978). Bedell, M., The Alcotts: Biography of a Family (1980). Bonstelle, J., and M. DeForest, eds., Little Women Letters from the House of Alcott (1914). Cheney, E., Louisa May Alcott: Her Life, Letters and Journals (1889). Clark, B. L., and Albergheni, J., eds., Little Women and The Feminist Imagination: Criticism, Controversy, Personal Essays (1999). Elbert, S., A Hunger for Home: Louisa May Alcott and Little Women (1984). Gulliver, L., Louisa May Alcott: A Bibliography (1932). Keyser, E. L., Little Women: A Family Romance (1999). MacDonald, R. K., Louisa May Alcott (1983). Meigs, C. L., The Story of the Author of Little Women: Invincible Louisa (1933). Myerson, J. et al eds., The Journals of Louise May Alcott (1989, reprinted 1997). Moses, B., Louisa May Alcott, Dreamer and Worker: A Story of Achievement (1909). Papashvily, H. W., Louisa May Alcott (1965). Peare, C. O., Louisa May Alcott: Her Life (1954). Saxton, M., Louisa May: A Modern Biography of Louisa May Alcott (1977). Stern, M. B., Louisa May Alcott (1950). Stern, M., Lousie May Alcott: From Blood and Thunder to Hearth and Home (1998). Ullom, J. C., Louisa May Alcott: A Centennial for Little Women (1969).

Reference Works:

Bibliography of American Literature (1955). NAW (1970). Oxford Companion to Women’s Writing in the United States (1995).

Other reference:

American Literature Review (Winter 1973). Bibliographical Society of America Papers (2nd Quarter, 1943). New England Quarterly (June 1943, Dec. 1949). NYTM (Dec. 1964).

Big success with Little Women

In 1867, Alcott became editor of Merry’s Museum, a leading children’s monthly magazine. During that year, she was approached by Thomas Niles, an editor at Roberts Brothers, the firm that published Alcott’s books. He suggested that Alcott write a novel for girls. Drawing on her own family and their experiences, including those of her sisters Anna, Elizabeth,
and May, Alcott produced the manuscript for Little Women within two months. Niles and Alcott were unsure about whether the book would sell, but their doubts were eased when Niles’s young niece read the book with delight, then immediately began rereading it. Little Women was published in October 1868 and became an immediate sensation.

Book reviewers praised the novel’s refreshing approach. Children’s literature of the time typically presented youngsters as merely cute and precious, with simple conflicts; the approach of Little Women, however, was more realistic, showing children as unique individuals with ranges of emotion, who learn from their experiences. Subsequent critics have shown how the novels demonstrate Alcott’s values: the characters learn the limits of equating happiness with money and possessions; the importance of coeducation (where boys and girls are educated equally and together) and other theories of education held by her father are shown; and the girls grow into independent young women who pursue their own paths in life, not merely what society expects of them. Little Women relates the adventures of the four March sisters as they strive to improve themselves and become «good girls» on their own terms. The
children in Little Women are imperfect, and many readers found traits in one of the sisters that they could see in themselves.

When hundreds of letters poured into the publisher from fans asking for more stories about the March sisters, Alcott quickly wrote a sequel in 1869 published as Little Women or, Meg, Jo, Beth and Amy, Part Second, which was another big seller. In all, Alcott would produce eight novels grouped as the «Little Women» series. After the first two volumes, Alcott wrote An Old-Fashioned Girl (1870), Little Men (1871), Eight Cousins (1875), Rose in Bloom (1876), Under the Lilacs (1878), Jack and Jill (1880), and Jo’s Boys and How They Turned Out (1886). These novels follow the lives of the March sisters and their families as they grow older while evoking the local color of the New England towns where they lived. All of the books remained immensely popular. During the twentieth century, the books were adapted to major motion pictures in 1933, 1949, and 1994 and as a television movie in 1978.

Success arrives

The attention seemed to die out, however, when she published her first novel, Moods, in 1865, and she was glad to accept a job in 1867 as the editor of the juvenile magazine Merry’s Museum. The next year she produced the first volume of Little Women, a cheerful and attractive account of her childhood. The character Jo represented Alcott herself, and Amy, Beth, and Meg represented her sisters. The book was an instant success, and a second volume followed in 1869. The resulting sales accomplished the goal she had worked toward for twenty-five years: the Alcott family had enough money to live comfortably.

After Little Women set the direction, Alcott continued producing similar works. She wrote An Old-fashioned Girl (1870), Little Men (1871), and Work (1873), an account of her early efforts to help support the family. During this time she took an active role in speaking out about the danger of drinking alcohol, and she also campaigned for women’s suffrage (right to vote). She also toured Europe. In 1876 she produced Silver Pitchers, a collection containing «Transcendental Wild Oats,» a description of her father’s failed attempts to found a communal group (where people live together and share ownership and use of property) in Fruitlands, Massachusetts. In later life she produced a book almost every year and maintained a loyal following of readers.

Alcott died on March 6, 1888, in Boston, Massachusetts. She seems never to have become bitter about the struggles of her early years or her father’s flaws. She did give some indication of her feelings about him, however, when she said that a philosopher was like a man up in a balloon: he was safe, as long as three women held the ropes on the ground.