Female D

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Discover the female celebrities whose name starts with D. The list includes people like Dua Lipa, Dolly Parton, Demi Lovato, Drew Barrymore, Doja Cat and many more. This list of female celebrities is loosely sorted by popularity. People featured on this list are from all domains, such as actresses, models, lyricists & songwriters and pop singers etc. This list of female celebrities whose names start with D includes people from United States, England, Germany, France and other countries all over the world.
This ranking is based on an algorithm that combines various factors, including the votes of our users and search trends on the internet.
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Перевести · Hannah Dakota Fanning was born on the 23rd of February 1994, in Conyers, Georgia, USA, to Heather Joy (Arrington) and Steven Fanning. Her mother played …
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Перевести · Female Celebrities Whose First Name Starts With D 1 Dua Lipa. 2 Dolly Parton. Birthdate: January 19, 1946 Birthdate: August 20, 1992 Starting With E Starting With F Birthdate: April... 14 Diane Lane. 15 Diane Keaton. Birthdate: January 5, 1946 16 Dianne Feinstein. 17 Doris Day. Birthdate: April ...
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https://en.m.wikipedia.org/wiki/List_of_female_movie_actors_by_name:_D
This is an alphabetical list of notable female movie actors with a last name that begins with the letter D.

Some actors on this list are also well-known because of their roles in films and television series, and are therefore included both in this list and the list of television actors.

Note: In some forms of current English usage…
This is an alphabetical list of notable female movie actors with a last name that begins with the letter D.

Some actors on this list are also well-known because of their roles in films and television series, and are therefore included both in this list and the list of television actors.

Note: In some forms of current English usage, the terms actor or female actor are often used in place of the more widespread actress.
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Author: Richard Polwhele
Country: Britain
Publisher: William Cobbett (orig. pub. Cadell …
Publication date: 1798; rpt. 1800
The poem itself consists of 206 lines of heroic couplets. There are a quantity of footnotes, to the degree that they outweigh the poem, word for word, by a considerable margin. In these footnotes Polwhele elaborates on various points which might get lost in verse and underscores the primacy of his polemical purpose. In structure the poem is straightforward: Polwhele compares two groups of writers, the "unsex'd females" of th…
The poem itself consists of 206 lines of heroic couplets. There are a quantity of footnotes, to the degree that they outweigh the poem, word for word, by a considerable margin. In these footnotes Polwhele elaborates on various points which might get lost in verse and underscores the primacy of his polemical purpose. In structure the poem is straightforward: Polwhele compares two groups of writers, the "unsex'd females" of the title — "unsex'd" meaning un-feminine or un-womanly — and a second group of exemplary women writers. He also makes some more general points about feminine decorum in the earlier part of the poem.

Unsex'd females
The poem betrays a particular animus for Mary Wollstonecraft and, by extension, others Polwhele considered to be of her radical, pro-French camp: writers Anna Laetitia Barbauld, Mary Robinson, Charlotte Turner Smith, Helen Maria Williams, Ann Yearsley, Mary Hays and Ann Jebb, and artists Angelica Kauffman and Emma Crewe. Strangely, perhaps, only Hays, Jebb and Smith shared political sympathies with Wollstonecraft, and Smith, by 1798, had turned her back on her previous ideas. The others, though, in different ways, all fell afoul of restrictive ideas of female (and class) decorum. Yearsley, for example, a labouring-class poet who had a dispute with her patron, Hannah More, is accused of longing "to rustle, like her sex, in silk" (l.102). According to one editor, "one can only conclude that Polwhele attacks these women not for what they are, but for what they are not: they are unsexed, unfeminine, either because they are immodest, or unsentimental, or insubordinate. Women must do more than simply avoid setting a bad example: they must provide a positive model of chaste, sentimental, subordinate femininity." Of this transgressive group, Polwhele invites the reader:

Survey with me, what ne'er our fathers saw, A female band despising NATURE's law, As "proud defiance" flashes from their arms, And vengeance smothers all their softer charms. (ll.11–14)

His remarks on Wollstonecraft, "whom no decorum checks" (l.63), stray from the literary and political into the personal; he invokes her complicated personal history and, of her death in childbirth, comments in a note: "I cannot but think, that the Hand of Providence is visible, in her life, her death… As she was given up to her 'heart's lusts,' and let 'to follow her own imaginations, that the fallacy of her doctrines and the effects of an irreligious conduct, might be manifested to the world; and as she died a death that strongly marked the distinction of the sexes, by pointing out the destiny of women, and the diseases to which they are liable" (29–30).

Proper ladies
After a catalogue of the various evils of the age, the poem ends on a positive note when it turns to a group of writers, many of them Bluestockings, who reverse the dangerous literary, philosophical and political trends outlined in the earlier sections. The approved writers, in contrast to the "witlings" (l.9) previously described, are lauded for their facility in combining morality and feminine decorum with literary publication, and comprise a number of Polwhele's acquaintance: Elizabeth Montagu is praised for her ability to "refine a letter'd age" (l.188) and Elizabeth Carter for hers to "with a milder air, diffuse / The moral precepts of the Grecian Muse" (ll.189–90). Frances Burney is praised for her ability to "mix with sparkling humour chaste / Delicious feelings and the purest taste" (ll.195–96). "And listening girls perceive a charm unknown / In grave advice, as utter'd by [Hester] CHAPONE" (ll.191–192). Anna Seward, Hester Thrale Piozzi, Ann Radcliffe, artist Diana Beauclerk, and, most centrally, Hannah More, who is set up as a sort of "anti-Wollstonecraft," complete the list of proper women writers:

… round their MORE the sisters sigh'd! Soft on each tongue repentant murmurs died; And sweetly scatter'd (as they glanc'd away) Their conscious "blushes spoke a brighter day." (ll.203–206)

In The Unsex'd Females, Polwhele initially seems to divide women writers according to their sexual reputations, but a closer examination reveals that he positions them largely symbolically. Why, for example, would Emma Crewe be in Wollstonecraft's group while Diana Beauclerk is in More's, particularly as the two knew each other and worked together? Beauclerk, in fact, had her own scandalous history: divorced by her husband for adultery, revealed to have had a child by her lover while still married, she was hardly a "proper lady." She was, however, a well-connected, well-established member of the aristocracy who painted charming, decorative pieces. Hannah More herself, while hardly a revolutionary, held a number of ideas uncannily similar to those of Wollstonecraft, ideas about the importance of female education, for example. Polwhele's polemical structure is not concerned with these nuances, however, and he positions these writers strictly according to his overarching scheme.

Botany
Polwhele had a variety of targets. In addition to literary and artistic improprieties, he deplored the popular female pastime of amateur botany. While this may seem a strange preoccupation to a contemporary reader, Polwhele was in fact intervening in an ongoing, and quite heated debate about the propriety of girls and women learning about the reproduction of plants, a debate that arose in part after Erasmus Darwin published an English translation of the work of Swedish botanist Carl Linnaeus, as well as his own poem, "The Loves of the Plants" (1790):

With secret sighs the Virgin Lily droops, And jealous Cowslips hang their tawny cups. How the young Rose in beauty's damask pride Drinks the warm blushes of his bashful bride; With honey'd lips enamour'd Woodbines meet, Clasp with fond arms, and mix their kisses sweet. (ll.15–20)

To Polwhele this is practically pornography and he graphically depicts the repercussions should women and girls be allowed to practise botany:

With bliss botanic as their bosoms heave, Still pluck forbidden fruit, with mother Eve, For puberty in signing florets pant, Or point the prostitution of a plant; Dissect its organ of unhallow'd lust, And fondly gaze the titillating dust. (ll.29–34)

Perhaps ironically, these lines in particular were singled out by the anti-Jacobin British Critic, apparently unaware of the authorship of the poem, as being in "bad taste."

According to Ann B. Shteir, "Polwhele's objections [to women practicing botany] combine critiques of female scientific practices with critiques of other 'Gallic' and 'revolutionary' practices, such as acknowledging sexuality and teaching children about sex." In a note, Polwhele writes that "Botany has lately become a fashionable amusement with the ladies. But how the study of the sexual system of plants can accord with female modesty, I am not able to comprehend… I have, several times, seen boys and girls botanizing together" (8). His concerns about propriety dovetail neatly with what Robin Jarvis describes as the "intellectual backlash provoked by the French Revolution" whereby "by the mid-1790s scientific opinions were no longer ideologically neutral."

French fashions
Polwhele is concerned with the moral ramifications of the intellectual activities of girls and women, most centrally writing. He does not, however, restrain his comments to academic pursuits; he inveighs, for example, against French fashions in dress and draws a clear line from French style to French philosophy:

With equal ease, in body or in mind, To Gallic freaks or Gallic faith resign'd, The crane-like neck, as Fashion bids, lay bare, Or frizzle, bold in front, their borrow'd hair; Scarce by a gossamery film carest, Sport, in full view, the meretricious breast. (ll.20–24)

There is a long-standing tradition of satirising the more extreme aspects of fashion, and women's fashion in particular. The less restrictive fashion of this period came in for considerable caricature. Polwhele, with his anti-French, nationalistic tone, contributes to a sub-set of such satires, a sub-set which expresses unease with feminism in terms of the "controversy concerning female fashions."
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Перевести · D-sub connectors have gender: parts with pin contacts are called male connectors or plugs, while those with socket contacts are called female connectors or …
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Перевести · History. As of February 2020, a total of 130 women have been elected to the Dáil. The first woman TD was Constance Markievicz, elected in 1918 to the 1st Dáil, and she was joined by five other women …
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Female D