Sentences with phrase «class woman whose»

Then enters the middle - class woman whose been hired to be his caretaker.

Here, Cate Blanchett is Carol, the upper - class woman whose marriage is already on the rocks when she meets Rooney Mara's Therese, whose lowly role belies her self - awareness and ambition to be a photographer.

The fact that many of the early groups that arose to represent parents were run by middle - class women whose desire to improve the lot of poor kids were mixed in with their own disdain for their parents also played a part in this co-opting.

Not exact matches

This year our mentee class includes an Indonesian woman whose company manufactures leather goods; an Egyptian who founded a survey research company; a lawyer and media personality from Ghana; and the co-founder of an online money transfer company from Poland.

I learned this not from a class in feminist studies, but from Jesus — who was brought into the world by a woman whose obedience changed everything; who revealed his identity to a scorned woman at a well; who defended Mary of Bethany as his true disciple, even though women were prohibited from studying under rabbis at the time; who obeyed his mother; who refused to condemn the woman caught in adultery to death; who looked to women for financial and moral support, even after the male disciples abandoned him; who said of the woman who anointed his feet with perfume that «wherever this gospel is preached throughout the world, what she has done will also be told, in memory of her»; who bantered with a Syrophoenician woman, talked theology with a Samaritan woman, and healed a bleeding woman; who appeared first before women after his resurrection, despite the fact that their culture deemed them unreliable witnesses; who charged Mary Magdalene with the great responsibility of announcing the start of a new creation, of becoming the Apostle to the Apostles.

In preparing to teach a course, I looked through a folder of accumulated notes and realized that I first taught the course to an adult class consisting of three women: Jennifer, a widow of about 60 years of age with an eighth - grade schooling, whose primary occupations were keeping a brood of chickens and a goat and watching the soaps on television; Penny, 55, an army wife who treated her retired military husband and her teenage son and daughter as items of furniture in her antiseptic house, dusting them off and placing them in positions that would show them off to her best advantage, and then getting upset when they didn't stay where she put them — she was, as you can imagine, in a perpetual state of upset; and Brenda, married, mother of two teenage sons, a timid, shy, introverted hypochondriac who read her frequently updated diagnoses and prescriptions from about a dozen doctors as horoscopes — the scriptures by which she lived.

(33) The emancipation of women in terms of outside employment, and the decline in the dual standard in the sexual area, threatens men whose self - esteem depended on perceiving women as submissive or second - class human beings.

Unlike the secular materialists I had studied in my feminist philosophy class that semester or the exhibitionist pop divas whose reductive views of women's liberation had shaped my generation, Teresa had something genuinely hopeful to say to me.

The article takes the focus off the prosperous women whose child - care situations raised anxious questions when they were being considered by President Clinton for appointment as U.S. attorney general and instead examines a group it sees as the largest group of mothers frustrated in seeking good day care: middle - class working mothers in urban areas where nearly all the available caregivers are undocmented foreign workers.

Even fewer of these women, if any at all, have been admitted to the pantheon of «great thinkers» — that class of writer whose work is the focus of worldwide attention and debate.

A taut, involving drama centered around the mysterious disappearance of a young woman, About Elly confirms director Asghar Farhadi as a major talent in Iranian cinema whose ability to chronicle the middle - class malaise of his society is practically unrivaled.

This cheeky, hilarious biopic, written by Steve Rogers («Hope Floats») and directed by Craig Gillespie («Lars and the Real Girl»), seeks to redeem an unfairly maligned woman, an almost superhuman athlete whose low class status kept her from being embraced by the figure - skating community, and who showed strength despite being abused by her mother and husband.

Far From Heaven, the TV series Mildred Pierce and now the glorious Carol rekindle the spirit of an age when «women's pictures» were commonplace in Hollywood, telling female - centred, taboo - breaking stories, featuring exceptional actresses such as Barbara Stanwyck, Joan Crawford and Bette Davis, whose characters face obstacles — prejudice around race, class, gender — that are no less prevalent today.

It's set in a run - down, depressed working - class town, and tells the story of a woman (Frances McDormand) whose daughter was murdered.

The Woman on the Sixth Floor (Unrated) Class - conscious comedy, set in Paris in 1960, about a bourgeois stockbroker (Fabrice Luchini), married to a snobby, socialite (Sandrine Kiberlain), whose life is turned upside - down when he is befriended by their beautiful, new maid (Natalia Verbeke).

The holiday trio, all presented on 35 mm, include: Magnificent Obsession, Sirk's dazzling drama about a reckless playboy who finds his life entwined with that of the woman whose husband's death he caused; Written on the Wind, a visually lush melodrama about a Texas oil magnate's downfall at the hands of his alcoholic son and wanton daughter; and All That Heaven Allows, a heartbreaking examination of love and class taboos in small - town America in the 1950s.

The woman most likely to emerge from this Tudors-esque affair with a crown is costume designer Lisy Christl, whose only true claim to fame thus far is her work on the upper - middle - class threads in Michael Haneke's Caché.

Finally, there's Jamie (Lily Gladstone, Winter in the Blood)-- whose name we never even hear — a young and lonely Native - American woman tending horses on a ranch who develops an infatuation for another young woman, Beth (Kristen Stewart, Clouds of Sils Maria), a just - graduated lawyer who drives four hours from the city, twice a week, to teach a class on school law.

Step focuses on three high - school seniors in the inaugural class of the Baltimore Leadership School for Young Women, whose mandate is to send every student to college.

If she isn't nominated, Gerwig could join a class of women that includes Lisa Cholodenko, Debra Granik, Penny Marshall and Streisand, herself, whose films were nominated for Best Picture but were left out of the directing field.

He is infatuated with Emily Hamilton (Alice Eve), a young woman of class whose father (Brendan Gleeson), an Army captain, will not stand for his daughter associating with a mere writer — especially one with as sordid a reputation as Poe.

Chris Hemsworth plays the English bounder James Hunt, a dashing head of blond hair whose daring - do and high - class accent turn women into mush.

Juneau, the first Native American woman to be elected to a state office, was introduced by Dean Kathleen McCartney who applauded her as a «transformative leader» whose work is fitting for this year's AOCC conference, which, McCartney said «offers our students, faculty, and alumni the opportunity to participate in important discussions about race, class, and education.»

Clearly Émile's mother represents the staid tradition of a woman of her class whose job was to exert an iron hand over the doings of her family.

But it is also a remarkably nuanced novel whose currents run much deeper, delving into the minds of four characters: Aguilar, a husband passionately in love with his wife and determined to rescue her from insanity: Agustina, a beautiful woman from an upper - class Colombian family who is caught in the throes of madness; Midas, a drug - trafficker and money - launderer, who is Agustina's former lover; and Nicolás, Agustina's grandfather.

Set in modern - day India, it is the story of two compelling and achingly real women: Sera Dubash, an upper - middle - class Parsi housewife whose opulent surroundings hide the shame and disappointment of her abusive marriage, and Bhima, a stoic illiterate hardened by a life of despair and loss, who has worked in the Dubash household for more than twenty years.

Prominent historian Painter — whose works, such as The History of White People, have explored race, gender and class in America — offers a more personal take on those themes as she reflects on enrolling in the Rhode Island School of Design as a 64 - year - old black woman and what it means to continue growing and discovering joy as we age.

This finding applied only to women whose husbands were social class III — V. Significantly more patients received less affection than they gave and had dominant husbands.