O‘zmu xabarlari вестник нууз acta nuuz

particular historical era, at the break of the nineteenth and 
twentieth century. This is not a random choice, however. As 
Carter herself observes about Nights at the Circus, it is “set at 
exactly the moment in European history when things began to 
change quite deliberately, and Fevvers is the new woman”. 
This choice gives Carter a suitable opportunity to sustain her 
purpose which is to exemplify an exceptional and remarkable 
woman, a character who supports female liberation not only 
with her attitude and opinions but also with her deeds, both 
personal and political. In the case of Fevvers, these two levels 
– personal and political - go hand in hand as she is a well-
known person, or, said in today’s words, a celebrity. Thus, she 
is an influential figure whose views and behaviour are not 
only watched but they can also be discussed and shared by the 
public. Carter probably chose Fevvers’ job – a circus artist – 
intentionally because its possibilities mirror her notion of 
feminism. This trapeze artist is famous enough to be able to 
chime her ideas among the public; on the other hand, a circus 
performer is not too snooty to keep too long a distance from 
the common people. And it is actually a normal, common 
person from whom Carter believes the change of liberation 
should arise. Fevvers’ personal story is marked with the 
political development, in particular with the strong 
evolvement of women’s rights that took place towards the end 
of the nineteenth century. As Day reports, this period of time 
was crucial for the feminist movement since it planted the 
topic of women’s rights to the public consciousness.“The late 
nineteenth century laid the ground for what would be, in part 
at least, consolidated and crystallised and turned into the 
British parliamentary legislation in the twentieth century”. 
[1,16] As Day reports, the issue of women’s suffrage, 
especially, was at the centre of these aspirations. She mentions 
John Stuart Mill, for example, who was a great supporter of 
women’s suffrage and who put this issue in his election Day 
notes that many amendments aiming for the gain of the 
franchise 
upon 
women 
were 
proposed, 
however, 
unsuccessfully. As a particularly disappointing case Day 
mentions the Liberal W.E. Gladstone whose refusal of an 
amendment to the Reform Bill of 1884 was supposed to grant 
women with the voting right. It was not until 1920 that female 
citizens of the United States (of 21 years of age at least) were 
allowed to vote. This civil right was granted by the Nineteenth 
Amendment to the United States Constitution and it banned 
any United States citizen to be forbidden from the right to vote 
based on sex.Carter employs other several real political issues 
and personages in her narrative to disturb the border between 
the historical and fictional. For example Walser is told by 
Fevvers that all the prostitutes living and working in Madame 
Nelson’s brothel identified themselves with women’s 
franchise: “we were all suffragists in that house; oh, Nelson 
was a one for ‘Votes for Women’, I can tell you!” and she 
defiantly adds, “Does that seem strange to you? That the caged 
bird should want to see the end of cages, sir?”. Or there is a 
character, despised by Fevvers and called by her as