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Women were then perceived as assuring the regeneration of the social and moral order. Spencer , Bloomington, Ind. Women in the Western World, to the Present , ed. Boxer , Marilyn J. New York, , — Reunies en collection selon le triple ordre logique, analogique, et chronologique , ed. Migne , Jacques Paul Paris, , 1: Napoleon exiled her from Paris in The Debate in Documents , ed.

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For the influence of domestic ideology on the upper classes, see Darrow , Margaret H. Historians as well as contemporaries have noted that the emperor used the promise of education or the hope of receiving the Legion of Honor or imperial noble titles to ensure the fidelity of his citizens. The most important distinction between the two being the emperor's interest in educating non-noble girls.

See Lougee , Carolyn C. Le Paradis des Femmes: In he requested that Madame de Genlis, educator of the royal princes, prepare a general plan for the elementary education of girls. Grimaud, Histoire , 4: Napoleon's surrender of both male and female popular education to religious authorities was a realistic strategy given the war's effect on France's public finances, see Moody , Joseph N.

French Education since Napoleon Syracuse, N. Napoleon unquestioningly left elementary education for girls in the hands of either religious or lay women. Langlois, Le catholicisme , — See de Marsangy , Bonneville Mme Campan , 5 — 19 , for details of her marriage and early boarding school. This notion of oversupply is a continuous refrain in her correspondence. Campan was not alone in her concern to establish teacher-training programs for women.

In the eighteenth century Madame de Genlis and Madame de Miremont both called for them. Over two-thirds of the student body at Campan's school were daughters of superior officers, generals, or the civilian equivalent. View or edit your browsing history. Get to Know Us.

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Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. This disparity becomes even greater when considering that, as Zetta Elliott mentioned in her quote above, as of the majority of babies born in the United States were not white. In London, where most of the U. Speaking at the Diversity Matters: Although no statistics are available for the U. The following quotes and evidence help to underpin this assertion. There are whole groups of people whose stories are not available because publishers don't publish them.

They're looking straight ahead for new markets, instead of at the life that's going on around them. Author Malaika Rose Stanley commented on this in a blog post discussing diversity: I wrote my first published book in , partly motivated by a lack of young fiction books featuring black boys that would appeal to my sons. There is a high awareness of this amongst publishers, but economic pressures make it difficult for them to act on it. Unfortunately, Frances Lincoln was bought by London-based co-edition publisher, Quarto, in August , and as a result they have closed their young adult Y.

Larger, mainstream publishers, such as Random House and Penguin, do publish books featuring diverse characters. Tamarind was bought by Random House in and they continue to publish under the imprint name. One may wonder whether Random House actually intended to adapt and learn from this small publisher, or simply wished to integrate the imprint into their existing model. Several large publishers, such as Penguin and Random House, have instigated diversity committees, which may partially have been a response to the establishment of DIPNet, the Diversity in Publishing Network.

Equality in Publishing still funded by Arts Council England. DIPNet created an Equalities Charter, asking signatory publishers to commit to a set number of equalities actions or initiatives each year. It will be worth keeping an eye on developments there in terms of the Equalities Charter and other activities, as their progress seemed to be hampered by constantly changing management and leadership. At this point, it is difficult to determine the impact of their efforts so far. The British publishing industry for children and adults has extremely low ethnic diversity in terms of staffing, and this proportion further decreases when we look at editorial departments, where the selection of texts for publication is made.

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Networks, personal and professional, tend to be dominated by white, middle-class graduates. As a result, those who hear about publishing through social networks and family connections form a large proportion of respondents: The current lack of diversity in staffing has a direct impact on the types of books produced, from the tastes of individual editors, to the perceptions and procedures of sales and marketing. As Malorie Blackman stated in an article in The Guardian ,.

The publishing industry itself needs to be more diverse. If the majority of people who work in publishing are white, which they are — not only in America, but in this country — then as a writer of colour, or a minority ethnic writer, it is harder for your vision of the world to be understood up front. In order to counterbalance the white middle-class perspective generally reflected by those working in the publishing industry, I have intentionally drawn on people from diverse backgrounds to gather alternative commentary on the industry.

The two main sources are a February roundtable discussion and author interviews carried out in November This event featured 14 published authors, illustrators and comic book artists: The importance for children to read books featuring black or Asian characters, and the even higher impact for BME children to learn that an author is not necessarily white;. Limited publishing view — publishers only want to publish one book featuring a black or other ethnic minority character at a time. The same restriction does not apply to books with white characters;.

There was concern about stereotyping and books focusing on issues such as gangs or forced marriage.


Do you feel that your cultural background has affected your experiences in getting published? For instance, Sita Brahmachari, author of Y. Sarwat Chadda, author of Y. The publishers are always looking for new voices and coming outside of the mainstream is a great advantage in that case.

That said, there is a fear of being too far out. I must realise that what is day-to-day to me may not be so for the majority of my readership. Chadda also said that, while he identifies himself as British-born Asian or Asian Pakistani , he was brought up in Britain and his reading habits, and writing style, are very western, which could help him to bridge from niche to mainstream. He also shows an interest in accessibility, making sure that his books will be appealing and understandable to a broad audience. Some of it was to stretch myself artistically and pursue my own diverse interests.

While many people in publishing state they would like to publish more diverse authors and books, they are ultimately working in a corporate, profit-driven structure. Those authors who can work in that style, while also integrating more diverse characters and viewpoints, could well move things forward and make a commercial case for books featuring BME characters and stories. Noughts and Crosses is a case in point here.

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As noted earlier, Malorie Blackman is the only black author whose books have been on the best-seller list. The books are based on a high concept race relations reversed in a sort of parallel universe — and are written in commercial, page-turning prose. This expectation is clearly not the same for books featuring white characters. Catherine Johnson commented on this further in the blog post on diversity led by Bali Rai:.

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I have been told that non-white protagonists do not sell as well as white ones and this fact is undeniably true — if only because there are so few books with non-white protagonists. So if I were to advise a new author who wanted to get published it would be sensible to tell them to write white and middle class. It ends up becoming a self-fulfilling prophecy.