A SCHOLARLY BOOK REPOSITORY
How do women strategically make their mark on state legislatures? Anna Mitchell Mahoney’s book traces the development of women’s state legislative caucuses and the influence both gender and party have on women’s ability to organize collectively. She provides a comprehensive analysis of how and why women organize around their gender identity in state legislatures—or why they do not.
Women Take Their Place in State Legislatures includes a quantitative analysis of institutional-level variables and caucus existence in all 50 states. Case studies of caucus attempts in New Jersey, Colorado, Pennsylvania, and Iowa between 2006 and 2010 examine attempts at creating women’s caucuses that succeeded or failed, and why. Mahoney’s interviews with 180 state legislators and their staff explore the motivations of caucus creators and participants. Ultimately, she finds that women’s organizing is contextual; it demonstrates the dynamic nature of gender.
Mahoney also provides insights into broad questions regarding gendered institutions, collective action, and political party governance. Women Take Their Place in State Legislatures fills a lacuna in the evaluation of women in government.
Johnson's primary focus is on reforms of marriage and family because traditional marriage, family, and kinship practices have had the greatest influence in defining and shaping women's place in Chinese society. Conversant with current theory in political science, anthropology, and Marxist and feminist analysis, Johnson writes with clarity and discernment free of dogma. Her discussions of family reform ultimately provide insights into the Chinese government's concern with decreasing the national birth rate, which has become a top priority. Johnson's predictions of a coming crisis in population control are borne out by the recent increase in female infanticide and the government abortion campaign.
The eleven essays concentrate new attention on the trio of reader, writer, and text when all three are modified by the terms “woman” and “mystery.”
What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed.
In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications.
Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Women Warriors in Romantic Drama examines a recurring figure that appears in French, British, and German drama between 1789 and 1830: the woman warrior. The term itself, “woman warrior,” refers to quasi-historical female soldiers or assassins. Women have long contributed to military campaigns as canteen women. Camp followers ranged from local citizenry to spouses and prostitutes, and on occasion, women assisted men in combat. However, the woman warrior is a romantic figure, meaning a fanciful ideal, despite the reality of women’s participation in select scenes of the French Revolution and the Napoleonic Wars. The central claim of this book is the woman warrior is a way for some women writers (Olympe de Gouges, Christine Westphalen, Karoline von Günderrode, and Mary Robinson) to explore the case for extending citizenship to women. This project focuses primarily on theater for the reason that the stage simulates the public world that female dramatists and their warriors seek to inhabit. Novels and poetry clearly belong to the realm of fiction, but when audiences see women fighting onstage, they confront concrete visions of impossible women. I examine dramas in the context of their performance and production histories in order to answer why so many serious dramas featuring women warriors fail to find applause, or fail to be staged at all. Dramas about women warriors seem to sometimes contribute to the argument for female citizenship when they take the form of tragedy, because the deaths of female protagonists in such plays often provoke consideration about women’s place in society.
Consequently, where we find women playing soldiers in various entertainment venues, farce and satire often seem to dominate, although this book points to some exceptions. Censorship and audience demand for comedies made producing tragedies difficult for female playwrights, who battled additional obstacles to fashioning their careers. I compare male (Edmund Eyre, Heinrich von Kleist) and female writers’ dramatizations of the woman warrior. This analysis shows that the difficult project of getting audiences to take women warriors seriously resembles women writers’ struggles to enter the ostensibly male domains of tragedy and the public sphere.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Women We Love is an edited collection exploring femininities in and around the Korean Wave since 2000. While studies on the Korean Wave are abundant, there is a dearth of analysis about the female-identifying stars, characters, and fans who shape and lead this crucial cultural movement. Using “women” as an inclusive term extending to all those who self-define as women, this collection of essays examines the role of women in K-pop and K-drama industries and fandom spaces, encompassing crucial intersectional topics such as queering of gender, dissemination of media, and fan culture.
The audience for Women We Love will reflect the contributors to this text; they are K-pop and K-drama fans, queer, international; they are also academics of Asian histories, sociology, gender and sexuality, art history, and visual culture. The chapters are playful, intersectional, and will be adapted well into syllabi for media studies, gender studies, visual culture studies, sociology, and contemporary global history.
Women Who Live Evil Lives documents the lives and practices of mixed-race, Black, Spanish, and Maya women sorcerers, spell-casters, magical healers, and midwives in the social relations of power in Santiago de Guatemala, the capital of colonial Central America. Men and women from all sectors of society consulted them to intervene in sexual and familial relations and disputes between neighbors and rival shop owners; to counter abusive colonial officials, employers, or husbands; and in cases of inexplicable illness.
Applying historical, anthropological, and gender studies analysis, Martha Few argues that women's local practices of magic, curing, and religion revealed opportunities for women's cultural authority and power in colonial Guatemala. Few draws on archival research conducted in Guatemala, Mexico, and Spain to shed new light on women's critical public roles in Santiago, the cultural and social connections between the capital city and the countryside, and the gender dynamics of power in the ethnic and cultural contestation of Spanish colonial rule in daily life.
The book studies women’s and families’ use of cultural knowledge, community activism, and teaching and learning spaces. Throughout, Trinidad Galván provides answers to these questions: How does the migration of loved ones alter community, familial, and gender dynamics? And what social relations (convivencia), cultural knowledge, and women-centered pedagogies sustain women’s survival (supervivencia)?
Researchers, educators, and students interested in migration studies, gender studies, education, Latin American studies, and Mexican American studies will benefit from the ethnographic approach and theoretical insight of this groundbreaking work.
Winner, 2014 AWSS Best Book in Slavic/East European/Eurasian Women's Studies
In Russian culture, the archetypal mother is noble and self-sacrificing. In Women with a Thirst for Destruction, however, Jenny Kaminer shows how this image is destabilized during periods of dramatic rupture in Russian society, examining in detail the aftermath of three key moments in the country’s history: the emancipation of the serfs in 1861, the Russian Revolution of 1917, and the fall of the Communist regime in 1991. She explores works both familiar and relatively unexamined: Leo Tolstoy’s Anna Karenina, Mikhail Saltykov-Shchedrin’s The Golovlev Family, Fyodor Gladkov’s Cement, and Liudmila Petrushevskaia’s The Time: Night, as well as a late Soviet film (Vyacheslav Krishtofovich’s Adam’s Rib, 1990) and media coverage of the Chechen conflict. Kaminer’s book speaks broadly to the mutability of seemingly established cultural norms in the face of political and social upheaval.
Women with disabilities are women first, sharing the dreams and disappointments common to women in a male-dominated society. But because society persists in viewing disability as an emblem of passivity and incompetence, disabled women occupy a devalued status in the social hierarchy. This book represents the intersection of the feminist and disability rights perspectives; it analyzes the forces that push disabled women towards the margins of social life, and it considers the resources that enable these women to resist the stereotype.
Drawing on law, social science, folklore, literature, psychoanalytic theory, and political activism, this book describes the experience of women with disabilities. The essays consider the impact of social class, race, the age at which disability occurs, and sexual orientation on the disabled woman's self esteem as well as on her life options. The contributors focus their inquiry on the self perceptions of disabled women and ask: From what sources do these women draw positive self images? How do they resist the culture's power to label them as deviant? The essays describe the ways in which disabled women face discrimination in the workplace and the failure of the mainstream women's movement to address their concerns.
In the series Health, Society, and Policy, edited by Sheryl Ruzek and Irving Kenneth Zola.
In Victorian England, virtually all women were taught to sew; needlework was allied with images of domestic economy and with traditional female roles of wife and mother- with home rather than factory. The professional seamstress, however, labored long hours for very small wages creating gowns for the upper and middle classes. In her isolation and helplessness, she provided social reformers with a powerful image of working-class suffering that appealed to the sensibilities of the upper classes and helped galvanize public opinion around the need for reform.
Women, Work, and Representation addresses the use of that image in the reform movement, underscoring the shock to the Victorian public when reports revealed that the profession of needlework was extremely hazardous, even deadly.
Author Lynn M. Alexander traces the development of the symbol of the seamstress through a variety of presentations, drawing from the writings of Charles Dickens, Elizabeth Gaskell, Charlotte Elizabeth Tonna, and George W. M. Reynolds, and on visual representations by Richard Redgrave, Thomas Benjamin Kennington, John Everett Millais, John Leech, John Tenniel, and Hubert von Herkomer.
Written to appeal to Victorian scholars, women's studies scholars, and those interested in semiotics and aestheticism, Women, Work, and Representation includes twenty illustrations, most from periodicals of the day, providing new insights into the lives of working women throughout the Victorian era.
In Women Working Longer, editors Claudia Goldin and Lawrence F. Katz assemble new research that presents fresh insights on the phenomenon of working longer. Their findings suggest that education and work experience earlier in life are connected to women’s later-in-life work. Other contributors to the volume investigate additional factors that may play a role in late-life labor supply, such as marital disruption, household finances, and access to retirement benefits. A pioneering study of recent trends in older women’s labor force participation, this collection offers insights valuable to a wide array of social scientists, employers, and policy makers.
What does it take for a woman to succeed as a writer? In these revealing interviews, first published in 1988 as Historias íntimas, ten of Latin America's most important women writers explore this question with scholar Magdalena García Pinto, discussing the personal, social, and political factors that have shaped their writing careers.
The authors interviewed are Isabel Allende, Albalucía Angel, Rosario Ferré, Margo Glantz, Sylvia Molloy, Elvira Orphée, Elena Poniatowska, Marta Traba, Luisa Valenzuela, and Ida Vitale. In intimate dialogues with each author, García Pinto draws out the formative experiences of her youth, tracing the pilgrimage that led each to a distinguished writing career.
The writers also reflect on their published writings, discussing the creative process in general and the motivating force behind individual works. They candidly discuss the problems they have faced in writing and the strategies that enabled them to reach their goals.
While obviously of interest to readers of Latin American literature, this book has important insights for students of women's literature and cultural studies, as well as for aspiring writers.
In Women Writing Jewish Modernity, 1919–1939, Allison Schachter rewrites Jewish literary modernity from the point of view of women. Focusing on works by interwar Hebrew and Yiddish writers, Schachter illuminates how women writers embraced the transgressive potential of prose fiction to challenge the patriarchal norms of Jewish textual authority and reconceptualize Jewish cultural belonging.
Born in the former Russian and Austro‑Hungarian Empires and writing from their homes in New York, Poland, and Mandatory Palestine, the authors central to this book—Fradl Shtok, Dvora Baron, Elisheva Bikhovsky, Leah Goldberg, and Debora Vogel—seized on the freedoms of social revolution to reimagine Jewish culture beyond the traditionally male world of Jewish letters. The societies they lived in devalued women’s labor and denied them support for their work. In response, their writing challenged the social hierarchies that excluded them as women and as Jews. As she reads these women, Schachter upends the idea that literary modernity was a conversation among men about women, with a few women writers listening in. Women writers revolutionized the very terms of Jewish fiction at a pivotal moment in Jewish history, transcending the boundaries of Jewish minority identities. Schachter tells their story and in so doing calls for a new way of thinking about Jewish cultural modernity.
Women's playwriting burgeoned in the United States and the United Kingdom as part of the feminist movement of the 1970s. Ever since, playwriting women have been embracing new subjects, experimenting with form, and devising new ways of looking at the world. To honor their achievements and inspire future endeavors, the Susan Smith Blackburn Prize was established in memory of an American actor, journalist, and feminist who died of breast cancer. In the nearly three decades of the award's existence, more than three hundred English-speaking women playwrights have been finalists for the Blackburn Prize in recognition of their work, including such prominent writers as Marsha Norman, Cheryl L. West, Wendy Wasserstein, Caryl Churchill, Paula Vogel, and Suzan-Lori Parks.
This volume offers a comprehensive overview of women's playwriting, as well as a celebration of the Susan Smith Blackburn Prize. It combines critical essays, playwrights' memoirs, and conversations and interviews with playwrights to explore how women's playwriting evolved in relation to the women's movement and how it continues to map new territory and find fresh modes of expression. The majority of contributors to this volume—playwrights, arts journalists, and theater critics—have had some connection to the Blackburn Prize, either as award recipients, play readers, or judges. The memoirs, conversations, and interviews come from some of the finest women playwrights of the last three decades. These dramatists offer fascinating insight into the playwriting art, theatrical careers, and women's goals in writing for the theater.
Women Writing the Academy is based on an extensive interview study by Gesa E. Kirsch that investigates how women in different academic disciplines perceive and describe their experiences as writers in the university.
Kirsch’s study focuses on the writing strategies of successful women writers, their ways of establishing authority, and the kinds of audiences they address in different disciplinary settings. Based on multiple interviews with thirty-five women from five different disciplines (anthropology, education, history, nursing, and psychology) and four academic ranks (seniors, graduate students, and faculty before and after tenure), this is the first book to systematically explore the academic context in which women write and publish.
While there are many studies in literary criticism on women as writers of fiction, there has not been parallel scholarship on women as writers of professional discourse, be it inside or outside the academy. Through her research, for example, Kirsch found that women were less likely than their male counterparts to think of their work as sufficiently significant to write up and submit for publication, tended to hold on to their work longer than men before sending it out, and were less likely than men to revise and resubmit manuscripts that had been initially rejected.
This book is significant in that it investigates a new area of research— gender and writing—and in doing so brings together findings on audience, authority, and gender.
In Women's Activism and Feminist Agency in Mozambique and Nicaragua, Jennifer Leigh Disney investigates the contours of women’s emancipation outside the framework of liberal democracy and a market economy. She interviews 146 women and men in the two countries to explore the comparative contribution of women’s participation in subsistence and informal economies, political parties and civil society organizations. She also discusses military struggles against colonialism and imperialism in fostering feminist agency to provide a fascinating look at how each movement evolved and how it changed in a post-revolutionary climate.
Linda Racioppi and Katherine O'Sullivan See present a concise history of women's situation in tsarist Soviet Russia, which shows how their ability to organize was constrained by social strictures and state policies. They also analyze how the state-sponsored Soviet Women's Committee and new groups like the Independent Women's Forum, the Women's League, and the International Institute for Entrepreneurial Development responded to the challenges and opportunities of the transition. The authors examine the dynamics among these groups as well. The personal life histories of the activists reflect the ways women have responded to the changing political, economic, and social landscape in the former Soviet Union.
Insightful and provocative, Women’s Activist Organizing in US History draws on both classic texts and recent bestsellers to reveal the breadth of activism by women in the United States in the nineteenth and twentieth centuries.
Contributors: Daina Ramey Berry, Melinda Chateauvert, Tiffany M. Gill, Nancy A. Hewitt, Treva B. Lindsey, Anne Firor Scott, Charissa J. Threat, Anne M. Valk, Lara Vapnek, and Deborah Gray White
Women in 16th- and 17th-century Britain read, annotated, circulated, inventoried, cherished, criticized, prescribed, and proscribed books in various historically distinctive ways. Yet, unlike that of their male counterparts, the study of women’s reading practices and book ownership has been an elusive and largely overlooked field.
In thirteen probing essays, Women’s Bookscapesin Early Modern Britain brings together the work of internationally renowned scholars investigating key questions about early modern British women’s figurative, material, and cultural relationships with books. What constitutes evidence of women’s readerly engagement? How did women use books to achieve personal, political, religious, literary, economic, social, familial, or communal goals? How does new evidence of women’s libraries and book usage challenge received ideas about gender in relation to knowledge, education, confessional affiliations, family ties, and sociability? How do digital tools offer new possibilities for the recovery of information on early modern women readers?
The volume’s three-part structure highlights case studies of individual readers and their libraries; analyses of readers and readership in the context of their interpretive communities; and new types of scholarly evidence—lists of confiscated books and convent rules, for example—as well as new methodologies and technologies for ongoing research. These essays dismantle binaries of private and public; reading and writing; female and male literary engagement and production; and ownership and authorship.
Interdisciplinary, timely, cohesive, and concise, this collection’s fresh, revisionary approaches represent substantial contributions to scholarship in early modern material culture; book history and print culture; women’s literary and cultural history; library studies; and reading and collecting practices more generally.
Women’s Camera Work ranges from American women’s photographic practices during the nineteenth and early twentieth centuries to a study of landscape photography. Using contemporary cultural studies discourse to critique influential male-centered historiography and the male-dominated art world, Davidov exhibits the work of these women; tells their absorbing stories; and discusses representations of North American Indians, African Americans, Asian Americans, and the migrant poor. Evaluating these photographers’ distinct contributions to constructions of Americanness and otherness, she helps us to discover the power of reading images closely, and to learn to see through these women’s eyes.
In presenting one of the most important strands of American photography, this richly illustrated book will interest students of American visual culture, women’s studies, and general readers alike.
From the authors of The Harvard Guide to Women's Health
Heart disease is the number one killer of women in this country. Every year half a million American women die of heart problems--and another 2.5 million are hospitalized for heart disease. This book brings the risks and realities of cardiovascular disease for women into clear focus. Where previous books have concentrated on men, The Women's Concise Guide to a Healthier Heart recognizes and clarifies the significant differences between men and women in the diagnosis and treatment of cardiac conditions.
The book lays out in plain English all that we currently know about preventing, recognizing, and living with a heart problem. Does an aspirin a day prevent heart disease in women? Does moderate alcohol consumption help or hurt? What about weight gain in middle age? Estrogen replacement therapy? These are the kinds of everyday, life-and-death questions that are addressed specifically for women in this concise guide. It considers questions of cholesterol and diabetes, stress and depression, diet and smoking. It explores diagnostic procedures and surgeries and explains their differing reliability and benefits for women and men.
Helpfully illustrated and easy to use, clear and comprehensive on every heart problem and related symptom and behavior, this book is the best resource for any woman wishing to understand the health and workings of her heart.
From the authors of The Harvard Guide to Women's Health
This concise guide goes beyond facts and figures to get to the practical theories of women's emotional health. Here, in one volume, is what the experts know about maintaining emotional well-being in women, and about preventing, recognizing, and treating the psychological disturbances and disorders that women experience in their own way.
Just as depression and anxiety are more common among women, many psychiatric disorders are exacerbated by the natural rhythms in a woman's life cycle, such as menarche, menstruation, pregnancy, childbirth, and menopause. This book offers expert insight into why and how such patterns occur, as well as coping strategies for insomnia, substance abuse, domestic violence, and sexual abuse which can occur at any stage of life. Most importantly, the authors answer such pressing questions as: What works best for treating panic attacks and phobias? Should psychotherapy be used in tandem with drugs? How does one choose among group, individual, or family therapy? What are the benefits and drawbacks of drugs such as Prozac? Of beta blockers? Of tranquilizers? Are psychiatric problems passed on to one's children? What are the merits of acupuncture, hypnosis, meditation, sex therapy?
From the complexities of schizophrenia and obsessive-compulsive disorder to the delicate practicalities of sexual response, this guide offers all that a woman might want to know about protecting her psychological health.
“Traditionally, narratives of war have been male,” Sharon Talley writes. In the pages that follow, she goes on to disrupt this tradition, offering close readings and comparative studies of fourteen women’s diaries from the Civil War era that illuminate women’s experiences in the Confederacy during the war.
While other works highlighting individual diaries exist—and Talley notes that there has been a virtual explosion of published primary sources by women in recent years—this is the first effort of comprehensive synthesis of women’s Civil War diaries to attempt to characterize them as a distinct genre. Deeply informed by autobiographical theory, as well as literary and social history, Talley’s presentation of multiple diaries from women of differing backgrounds illuminates complexities and disparities across female wartime experiences rather than perpetuating overgeneralizations gleaned from a single diary or
preconceived ideas about what these diaries contain.
To facilitate this comparative approach, Talley divides her study into six sections that are organized by location, vocation, and purpose: diaries of elite planter women; diaries of women on the Texas frontier; diaries of women on the Confederate border; diaries of espionage by women in the South; diaries of women nurses near the battlefront; and diaries of women missionaries in the Port Royal Experiment. When read together, these writings illustrate that the female experience in the Civil War South was not one but many.
Women’s Diaries from the Civil War South: A Literary-Historical Reading is an essential text for scholars in women’s studies, autobiography studies, and Civil War studies alike, presenting an in-depth and multifaceted look at how the Civil War reshaped women’s lives in the South—and how their diverse responses shaped the course of the war in return.
In 2010, Dilma Rousseff was the first woman to be elected President in Brazil. She was re-elected in 2014 before being impeached in 2016 for breaking budget laws. Her popularity and controversy both energized and polarized the country. In Women’s Empowerment and Disempowerment in Brazil, dos Santos and Jalalzai examine Rousseff’s presidency and what it means for a woman to hold (and lose) the country’s highest power.
The authors examine the ways Rousseff exercised dominant authority and enhanced women’s political empowerment. They also investigate the extent her gender played a role in the events of her presidency, including the political and economic crises and her ensuing impeachment. Emphasizing women’s political empowerment rather than representation, the authors assess the effects of women executives to more directly impact female constituencies—how they can empower women by appointing them to government positions; make policies that advance women’s equality; and, through visibility, create greater support for female politicians despite rampant sexism.
Women’s Empowerment and Disempowerment in Brazil uses Rousseff’s presidency as a case study to focus on the ways she succeeded and failed in using her authority to empower women. The authors’ findings have implications throughout the world.
The contributors examine the work of Marie Menken, Joyce Wieland, Gunvor Nelson, Yvonne Rainer, Carolee Schneemann, Barbara Rubin, Amy Greenfield, Barbara Hammer, Chick Strand, Marjorie Keller, Leslie Thornton, Abigail Child, Peggy Ahwesh, Su Friedrich, and Cheryl Dunye. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Menken used film as a way to rethink the transition from abstract expressionism to Pop Art in the 1950s and 1960s, how Rubin both objectified the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, including a tendency toward documentary rather than fiction and a commitment to nonhierarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by suggesting alternative films for classroom use.
Contributors. Paul Arthur, Robin Blaetz, Noël Carroll, Janet Cutler, Mary Ann Doane, Robert A. Haller, Chris Holmlund, Chuck Kleinhans, Scott MacDonald, Kathleen McHugh, Ara Osterweil, Maria Pramaggiore, Melissa Ragona, Kathryn Ramey, M. M. Serra, Maureen Turim, William C. Wees
Contributors:
Penelope Anderson, Andrea Boffa, Jennifer N. Brown, Christine Chism, Melissa Ridley Elmes, Laurie Finke, Carissa M. Harris, Lydia Yaitsky Kertz, Clare A. Lees, Karma Lochrie, Gillian R. Overing, Alexandra Verini, Usha Vishnuvajjala, Stella Wang
The American Historical Association's Committee on Women Historians commissioned some of the pioneering figures in women's history to prepare essays in their respective areas of expertise. Volume 1 of the three-volume series addresses the comparative themes that the editors and contributors see as central to understanding women's history around the world. Authors like Margaret Strobel, Alice Kessler-Harris, and Mrinalini Sinha provide overviews of the theory and practice of women's and gender history and analyze family history, nationalism, and work. Editor Bonnie G. Smith rounds out the collection with essays on religion, race, ethnicity, and the different varieties of feminism.
Authoritative and wide-ranging, Women's History in Global Perspective, Volume 1, offers an invaluable resource on the thought and methods of a generation's leading figures in feminist scholarship.
Contributors: Marjorie Bingham, Julia Clancy-Smith, Susan Kent, Alice Kessler-Harris, Mary Jo Maynes, Pamela Scully, Mrinalini Sinha, Margaret Strobel, and Ann B. Waltner
In Volume 2 of Women's History in Global Perspective, Bonnie G. Smith curates more essays by pioneering thinkers on issues that have shaped the history of women, this time with a focus on particular places and particular eras. The collection examines women from prehistory to ancient civilizations in Egypt, Israel, India, and beyond; a survey of women history in China, Japan, and Korea; women and gender in South and South East Asia; medieval women; women and gender in Colonial Latin America; and the history of women in the United States to 1865.
Inclusive and wide-ranging, Women's History in Global Perspective, Volume 2, offers an invaluable collection of feminist scholarship on overlooked and marginalized topics.
Contributors: Judith M. Bennett, Kathleen Brown, Brady Hughes, Sarah Shaver Hughes, Susan Mann, Barbara N. Ramusack, and Ann Twinam.
The concluding volume of Women's History in Global Perspective discusses contemporary trends in gender and women's history. Bonnie G. Smith edits essays that include women and gender in the history of sub-Saharan Africa and Middle Eastern women since the rise of Islam. Other contributors offer a transnational approach to women in early and modern Europe; look at women's history in Russia and the Soviet Union; discuss the national period in Latin American women's history; and provide a global perspective on women in North American history after 1865.
Contributors: Bonnie S. Anderson, Ellen Dubois, Barbara Engel, Cheryl Johnson-Odim, Nikki R. Keddie, Asunción Lavrin, and Judith P. Zinsser
Volume 66 in the Other Voice in Early Modern Europe - The Chicago Series
In Women’s Irony: Rewriting Feminist Rhetorical Histories, author Tarez Samra Graban synthesizes three decades of feminist scholarship in rhetoric, linguistics, and philosophy to present irony as a critical paradigm for feminist rhetorical historiography that is not linked to humor, lying, or intention. Using irony as a form of ideological disruption, this innovative approach allows scholars to challenge simplistic narratives of who harmed, and who was harmed, throughout rhetorical history.
Three case studies of women’s political discourse between 1600 and 1900—examining the work of Anne Askew, Anne Hutchinson, and Helen M. Gougar—demonstrate how reading historical texts ironically complicates the theoretical relationships between women and agency, language and history, and archival location and memory. Interwoven throughout are shorter case studies from twentieth-century performances, revealing irony’s consciousness-raising potential for the present and the future.
Ultimately, Women’s Irony suggests alternative ways to question women’s histories and consider how contemporary feminist discourse might be better historicized. Graban challenges critical methods in rhetoric, asking scholars in rhetoric and its related disciplines—composition, communication, and English studies—to rethink how they produce historical knowledge and use archives to recover women’s performances in political situations.
Jan Doolittle Wilson offers the first comprehensive history of the umbrella organization founded by former suffrage leaders in order to coordinate activities around women's reform. Encompassing nearly every major national women's organization of its time, the Women's Joint Congressional Committee (WJCC) evolved into a powerful lobbying force for the legislative agendas of more than twelve million women. Critics and supporters alike came to recognize it as "the most powerful lobby in Washington."
Examining the WJCC's most consequential and contentious campaigns, Wilson traces how the group's strategies, rhetoric, and success generated congressional and grassroots support for their far-reaching, progressive reforms. But the committee's early achievements sparked a reaction by big business that challenged and ultimately limited the programs these women envisioned. Using the WJCC as a lens, Wilson analyzes women's political culture during the 1920s. She also sheds new light on the initially successful ways women lobbied for social legislation, the limitations of that process for pursuing class-based reforms, and the enormous difficulties the women soon faced in trying to expand public responsibility for social welfare.
A volume in the series Women in American History, edited by Anne Firor Scott, Susan Armitage, Susan K. Cahn, and Deborah Gray White
Globalization is not a new phenomenon; women throughout the world have been dealing with the circumstances and consequences of an international economy long before the advent of the transnational corporate conglomerate. However, in a mercenary example of the tried clich "the more things change, the more they stay the same," women-particularly those of color-continue to be relegated to the lowest rung of the occupational ladder, where their indispensable contributions to global market capitalism are downplayed or invalidated completely through the perpetuation of stereotypes and the denial of access to better job opportunities and resources.
How women of color around the world adapt and challenge the economic, political, and social effects of globalization is the subject of this broad-minded and incisive anthology. From Mexico, Jamaica, Ghana, Zimbabwe, and Sri Lanka, to immigrant and non-immigrant communities in the United States-the women documented in these essays are agricultural and factory workers, artists and entrepreneurs, mothers and activists. Their stories bear stark witness to how globalization continues to develop new sites and forms of exploitation, while its apparent victims continue to be women, men, and children of color.
What did it mean to be a woman in colonial Spanish America? Given the many advances in women's rights since the nineteenth century, we might assume that colonial women had few rights and were fully subordinated to male authority in the family and in society—but we'd be wrong. In this provocative study, Kimberly Gauderman undermines the long-accepted patriarchal model of colonial society by uncovering the active participation of indigenous, mestiza, and Spanish women of all social classes in many aspects of civil life in seventeenth-century Quito.
Gauderman draws on records of criminal and civil proceedings, notarial records, and city council records to reveal women's use of legal and extra-legal means to achieve personal and economic goals; their often successful attempts to confront men's physical violence, adultery, lack of financial support, and broken promises of marriage; women's control over property; and their participation in the local, interregional, and international economies. This research clearly demonstrates that authority in colonial society was less hierarchical and more decentralized than the patriarchal model suggests, which gave women substantial control over economic and social resources.
In the past twenty-five years, no one has been more instrumental than Catharine MacKinnon in making equal rights real for women. As Peter Jennings once put it, more than anyone else in legal studies, she "has made it easier for other women to seek justice." This collection, the first since MacKinnon's celebrated Feminism Unmodified appeared in 1987, brings together previously uncollected and unpublished work in the national arena from 1980 to the present, defining her clear, coherent, consistent approach to reframing the law of men on the basis of the lives of women.
By making visible the deep gender bias of existing law, MacKinnon has recast legal debate and action on issues of sex discrimination, sexual abuse, prostitution, pornography, and racism. The essays in this volume document and illuminate some of the momentous and ongoing changes to which this work contributes; the recognition of sexual harassment, rape, and battering as claims for sexual discrimination; the redefinition of rape in terms of women's actual experience of sexual violation; and the reframing of the pornography debate around harm rather than morality. The perspectives in these essays have played an essential part in changing American law and remain fundamental to the project of building a sex-equal future.
Literary evidence is often silent about the lives of women in antiquity, particularly those from the buried cities of Pompeii and Herculaneum. Even when women are considered, they are often seen through the lens of their male counterparts. In this collection, Brenda Longfellow and Molly Swetnam-Burland have gathered an outstanding group of scholars to give voice to both the elite and ordinary women living on the Bay of Naples before the eruption of Vesuvius.
Using visual, architectural, archaeological, and epigraphic evidence, the authors consider how women in the region interacted with their communities through family relationships, businesses, and religious practices, in ways that could complement or complicate their primary social roles as mothers, daughters, and wives. They explore women-run businesses from weaving and innkeeping to prostitution, consider representations of women in portraits and graffiti, and examine how women expressed their identities in the funerary realm. Providing a new model for studying women in the ancient world, Women’s Lives, Women’s Voices brings to light the day-to-day activities of women of all classes in Pompeii and Herculaneum.
Steven Buecheler has written a comparative sociological analysis of the woman suffrage movement (1840s-1920) and the contemporary women’s movement (1960s to the present). His identification of similarities and differences between these movements reveals persistent feminist issues over time as well as the distinctive concerns of each movement in the sociohistorical context. Buecheler compares these two movements in terms of their origins, organizations, ideologies, class and racial diversities, countermovement’s, and outcomes. He uses resource mobilization theory.
Buecheler explains why women’s movements arise, the forms of organization they adopt, the diversity of ideologies they espouse, and the class and racial composition of women’s movements. He also helps us to understand the roots of countermovements, as well as the mixture of successes and failures that has characterized both past and present women’s movements. While recognizing both the setbacks and the victories of the contemporary movement, Buecheler identifies grounds for relative optimism about the lasting consequences of this ongoing mobilization.
Buechler also explores the complex relationship between social change and social movements. Rapid change both enables and constricts the potential for collective action, which in turn reshapes social structure, By studying long-lived moments in a comparative framework, Buechler sheds light on the broader dialectical relation between agency and structure that is embodied in movement efforts at social change.
This book is the first in English to consider women's movements and feminist discourses in twentieth-century Taiwan. Doris T. Chang examines the way in which Taiwanese women in the twentieth century selectively appropriated Western feminist theories to meet their needs in a modernizing Confucian culture. She illustrates the rise and fall of women's movements against the historical backdrop of the island's contested national identities, first vis-à-vis imperial Japan (1895-1945) and later with postwar China (1945-2000).
In particular, during periods of soft authoritarianism in the Japanese colonial era and late twentieth century, autonomous women's movements emerged and operated within the political perimeters set by the authoritarian regimes. Women strove to replace the "Good Wife, Wise Mother" ideal with an individualist feminism that meshed social, political, and economic gender equity with the prevailing Confucian family ideology. However, during periods of hard authoritarianism from the 1930s to the 1960s, the autonomous movements collapsed.
The particular brand of Taiwanese feminism developed from numerous outside influences, including interactions among an East Asian sociopolitical milieu, various strands of Western feminism, and even Marxist-Leninist women's liberation programs in Soviet Russia. Chinese communism appears not to have played a significant role, due to the Chinese Nationalists' restriction of communication with the mainland during their rule on post-World War II Taiwan.
Notably, this study compares the perspectives of Madame Chiang Kai-shek, whose husband led as the president of the Republic of China on Taiwan from 1949 to 1975, and Hsiu-lien Annette Lu, Taiwan's vice president from 2000 to 2008. Delving into period sources such as the highly influential feminist monthly magazine Awakening as well as interviews with feminist leaders, Chang provides a comprehensive historical and cross-cultural analysis of the struggle for gender equality in Taiwan.
The transition to democracy in South Africa was one of the defining events in twentieth-century political history. The South African women’s movement is one of the most celebrated on the African continent. Shireen Hassim examines interactions between the two as she explores the gendered nature of liberation and regime change. Her work reveals how women’s political organizations both shaped and were shaped by the broader democratic movement. Alternately asserting their political independence and giving precedence to the democratic movement as a whole, women activists proved flexible and remarkably successful in influencing policy. At the same time, their feminism was profoundly shaped by the context of democratic and nationalist ideologies. In reading the last twenty-five years of South African history through a feminist framework, Hassim offers fresh insights into the interactions between civil society, political parties, and the state.
Hassim boldly confronts sensitive issues such as the tensions between autonomy and political dependency in feminists’ engagement with the African National Congress (ANC) and other democratic movements, and black-white relations within women’s organizations. She offers a historically informed discussion of the challenges facing feminist activists during a time of nationalist struggle and democratization.
Winner, Victoria Schuck Award for best book on women and politics, American Political Science Association
“An exceptional study, based on extensive research. . . . Highly recommended.”—Choice
“A rich history of women’s organizations in South African . . . . [Hassim] had observed at first hand, and often participated in, much of what she described. She had access to the informants and private archives that so enliven the narrative and enrich the analysis. She provides a finely balanced assessment.”—Gretchen Bauer, African Studies Review
Richter-Devroe's ethnographic approach draws from revealing in-depth interviews and participant observation in Palestine. The result: a forceful critique of mainstream conflict resolution methods and the failed woman-to-woman peacebuilding projects so lauded around the world. The liberal faith in dialogue as core of "the political" and the assumption that women's "nurturing" nature makes them superior peacemakers, collapse in the face of past and ongoing Israeli state violences.
Instead, women confront Israeli settler colonialism directly and indirectly in their popular and everyday acts of resistance. Richter-Devroe's analysis zooms in on the intricate dynamics of daily life in Palestine, tracing the emergent politics that women articulate and practice there. In shedding light on contemporary gendered "politics from below" in the region, the book invites a rethinking of the workings, shapes, and boundaries of the political.
This book accomplishes four major tasks:
*It provides a comprehensive critical history of the changing research on politics and the changing nature of the political science discipline.
*It analyzes the course of women's political activism in the United States.
*It develops a rich case study of women's politics in Northern California's Silicon Valley, an area once nicknamed "the feminist capital of the nation."
*It examines coalitions and divisions within the women's movement with sensitivity to minority politics, as in the chapter subtitled, "The Hard Work of Sisterhood."
Women's Political Voice record the transformative politics of the women's movement and, simultaneously, urges political scientists to ask new questions and to adopt new methods.
This collection, edited by Elizabeth A. Flynn and Tiffany Bourelle, contributes to the valuable work of chronicling the professional and personal lives of women in academia. Through its line-up of contributors from diverse backgrounds, locations, and career paths, Women’s Professional Lives in Rhetoric and Composition showcases the voices of multiple scholars occupying a multitude of different roles in the profession: from prestigious professors emeritae and endowed chairs to assistant professors starting their careers to an independent scholar to part-time faculty.
The collection sets itself apart from other volumes not just in its diversity of perspectives but also by speaking against linear stories of success in the profession—sharing moments of shame and failure, showing how the personal and professional often intertwine and influence one another, and ultimately revealing how choice, chance, serendipity, and kairos have all played a role in the lives of its contributors. In focusing on this convergence, Women’s Professional Lives in Rhetoric and Composition offers a more nuanced picture of the professional and intellectual trajectories of women in rhetoric and composition.
It may seem to the casual observer that women have made striking gains in their quest for equality with men since the early 1960s. But have they really improved their lot? Are they really better off economically? In this clear, compact, and controversial book Victor Fuchs makes plain that except for women who are young, white, unmarried, and well educated, today’s women have not gained economically at all relative to men. He shows that although women are earning a lot more, they have much less leisure time than they used to while men have more; the decline of marriage has made women more dependent on their own income, and their share of financial responsibility for children has grown.
Scrutinizing this relative lack of progress and the reasons for the persistence of occupational segregation, the infamous wage gap, and the unequal responsibility for housework and childcare, Fuchs shows that the standard explanations—discrimination and exploitation by employers—are not the most important causes. Women’s weaker economic position results primarily from conflicts between career and family, conflicts that are stronger for women than for men. Fuchs assembles many different kinds of evidence to suggest that, on average, women feel a stronger desire for children than men do, and have a greater concern for their welfare after they are born. This desire and concern create an economic disadvantage for women, even women who never marry and never have children.
Women's Science offers a dramatic counterpoint not only to these findings but also to the related, narrow assumption that "real science" only occurs in research and laboratory investigation. This book describes women engaged with science or engineering at the margins: an innovative high school genetics class; a school-to-work internship for prospective engineers, an environmental action group, and a nonprofit conservation agency. In these places—where people use or rely on science for public, social, or community purposes—the authors found a remarkably high proportion of women. Moreover, these women were successful at learning and using technical knowledge, they advanced in roughly equal percentages to men, and they generally enjoyed their work.
Yet, even in these more marginal workplaces, women had to pay a price. Working outside traditional laboratories, they enjoy little public prestige and receive significantly less financial compensation. Although most employers claimed to treat men and women equally, women in fact only achieved success when they acted like male professionals.
Women's Science is an original and provocative contribution that expands our conception of scientific practice as it reconfigures both women's role in science and the meaning of science in contemporary society.
The Other Voice in Early Modern Europe - The Toronto Series, volume 65
Established as an academic field in the 1970s, women’s studies is a relatively young but rapidly growing area of study. Not only has the number of scholars working in this subject expanded exponentially, but women’s studies has become institutionalized, offering graduate degrees and taking on departmental status in many colleges and universities. At the same time, this field—formed in the wake of the feminist movement—is finding itself in a precarious position in what is now often called a “post-feminist” society. This raises challenging issues for faculty, students, and administrators. How must the field adjust its goals and methods to continue to affect change in the future?
Bringing together essays by newcomers as well as veterans to the field, this essential volume addresses timely questions including:
- Without a unitary understanding of the subject, woman, what is the focus of women’s studies?
- How can women’s studies fulfill the promise of interdisciplinarity?
- What is the continuing place of activism in women’s studies?
- What are the best ways to think about, teach, and act upon the intersections of race, class, gender, disability, nation, and sexuality?
Offering innovative models for research and teaching and compelling new directions for action, Women’s Studies for the Future ensures the continued relevance and influence of this developing field.
Since the 1970s, Women's Studies has grown from a volunteerist political project to a full-scale academic enterprise. Women's Studies on Its Own assesses the present and future of the field, demonstrating how institutionalization has extended a vital, ongoing intellectual project for a new generation of scholars and students.
Women’s Studies on Its Own considers the history, pedagogy, and curricula of Women’s Studies programs, as well as the field’s relation to the managed university. Both theoretically and institutionally grounded, the essays examine the pedagogical implications of various divisions of knowledge—racial, sexual, disciplinary, geopolitical, and economic. They look at the institutional practices that challenge and enable Women’s Studies—including interdisciplinarity, governance, administration, faculty review, professionalism, corporatism, fiscal autonomy, and fiscal constraint. Whether thinking about issues of academic labor, the impact of postcolonialism on Women’s Studies curricula, or the relation between education and the state, the contributors bring insight and wit to their theoretical deliberations on the shape of a transforming field.
Contributors. Dale M. Bauer, Kathleen M. Blee, Gloria Bowles, Denise Cuthbert, Maryanne Dever, Anne Donadey, Laura Donaldson, Diane Elam, Susan Stanford Friedman, Judith Kegan Gardiner, Inderpal Grewal, Sneja Gunew, Miranda Joseph, Caren Kaplan, Rachel Lee, Devoney Looser, Jeanette McVicker, Minoo Moallem, Nancy A. Naples, Jane O. Newman, Lindsey Pollak, Jean C. Robinson, Sabina Sawhney, Jael Silliman, Sivagami Subbaraman, Robyn Warhol, Marcia Westkott, Robyn Wiegman, Bonnie Zimmerman
The contributors to Women’s Studies on the Edge embrace feminism not as a set of prescriptions but as a critical stance, one that seeks to interrogate and disrupt prevailing systems of gender. Refusing to perpetuate and protect orthodoxies, they ask tough questions about the impact of institutionalization on the once radical field of women’s studies; about the ongoing difficulties of articulating women’s studies with ethnic, queer, and race studies; and about the limits of liberal concepts of emancipation for understanding non-Western women. They also question the viability of continuing to ground women’s studies in identity politics authorized by personal experience. The multiple interpretations in Women’s Studies on the Edge sometimes overlap and sometimes stand in opposition to one another. The result is a collection that embodies the best aspects of critique: the intellectual and political stance that the contributors take to be feminism’s ethos and its aim.
Contributors
Wendy Brown
Beverly Guy-Sheftall
Evelynn M. Hammonds
Saba Mahmood
Biddy Martin
Afsaneh Najmabadi
Ellen Rooney
Gayle Salamon
Joan Wallach Scott
Robyn Wiegman
The most studied utopias have been proposed by men, but during the eighteenth century a group of reform-oriented female novelists put forth a series of work that expressed their views of, and their reservations about, ideal societies. In Women's Utopias of the Eighteenth Century, Alessa Johns examines the utopian communities envisaged by Mary Astell, Sarah Fielding, Mary Hamilton, Sarah Scott, and other writers from Britain and continental Europe, uncovering the ways in which they resembled--and departed from--traditional utopias.
Johns demonstrates that while traditional visions tended to look back to absolutist models, women's utopias quickly incorporated emerging liberal ideas that allowed far more room for personal initiative and gave agency to groups that were not culturally dominant, such as the female writers themselves. Women's utopias, Johns argues, were reproductive in nature. They had the potential to reimagine and perpetuate themselves.
In this remarkable book, Melody Davis analyzes the underexamined genre of narrative stereoviews and their audiences. Because stereoviews were created for and marketed primarily to middle-class women in domestic settings, Davis argues that they represent one of the best sources for addressing the flow of historical change in women's lives. By analyzing dozens of stereoviews—including depictions of gender stereotypes, power dynamics, comical or sentimental situations, and scenes of both serious and playful innuendo—Davis energetically spins a broad history of the real social, sexual, and economic changes in the lives of American women. Her close reading and rich contextualization of these compelling vernacular objects bridge the gaps between the private viewing that took place within the home and the outside world of consumption and power that women were gradually entering.
Illustrated with more than one hundred stereographs and including a three-dimensional viewer, this book will appeal to readers with an interest in U.S. women's history, the history of photography, visual and cultural studies, and American studies.
2023 Publication Award Honorable Mention, British Association for Film, Television and Screen Studies
An examination of the sound and silence of women in digital media.
In today’s digital era, women’s voices are heard everywhere—from smart home devices to social media platforms, virtual reality, podcasts, and even memes—but these new forms of communication are often accompanied by dated gender politics. In Women’s Voices in Digital Media, Jennifer O’Meara dives into new and well-established media formats to show how contemporary screen media and cultural practices police and fetishize women’s voices, but also provide exciting new ways to amplify and empower them.
As she travels through the digital world, O’Meara discovers newly acknowledged—or newly erased—female voice actors from classic films on YouTube, meets the AI and digital avatars in Her and The Congress, and hears women’s voices being disembodied in new ways via podcasts and VR voice-overs. She engages with dialogue that is spreading with only the memory of a voice, looking at how popular media like Clueless and The Simpsons have been mined for feminist memes, and encounters vocal ventriloquism on RuPaul’s Drag Race that queers and valorizes the female voice. Through these detailed case studies, O’Meara argues that the digital proliferation of screens alters the reception of sounds as much as that of images, with substantial implications for women’s voices.
Winner of the PEN Oakland–Josephine Miles Award
“A stunning portrayal of a tragedy endured and survived by women.”
—David W. Blight, author of Frederick Douglass
“Readers expecting hoop-skirted ladies soothing fevered soldiers’ brows will not find them here…Explodes the fiction that men fight wars while women idle on the sidelines.”
—Washington Post
The idea that women are outside of war is a powerful myth, one that shaped the Civil War and still determines how we write about it today. Through three dramatic stories that span the war, Stephanie McCurry invites us to see America’s bloodiest conflict for what it was: not just a brothers’ war but a women’s war.
When Union soldiers faced the unexpected threat of female partisans, saboteurs, and spies, long held assumptions about the innocence of enemy women were suddenly thrown into question. McCurry shows how the case of Clara Judd, imprisoned for treason, transformed the writing of Lieber’s Code, leading to lasting changes in the laws of war. Black women’s fight for freedom had no place in the Union military’s emancipation plans. Facing a massive problem of governance as former slaves fled to their ranks, officers reclassified black women as “soldiers’ wives”—placing new obstacles on their path to freedom. Finally, McCurry offers a new perspective on the epic human drama of Reconstruction through the story of one slaveholding woman, whose losses went well beyond the material to intimate matters of family, love, and belonging, mixing grief with rage and recasting white supremacy in new, still relevant terms.
“As McCurry points out in this gem of a book, many historians who view the American Civil War as a ‘people’s war’ nevertheless neglect the actions of half the people.”
—James M. McPherson, author of Battle Cry of Freedom
“In this brilliant exposition of the politics of the seemingly personal, McCurry illuminates previously unrecognized dimensions of the war’s elemental impact.”
—Drew Gilpin Faust, author of This Republic of Suffering
Since the Enlightenment, embodied knowledge creation has been overlooked, ignored, or disparaged as inferior to other forms of expression or thinking that seem to leave the material world behind. Privileging the hand over the eye, as the work in this collection does, thus problematizes the way in which the eye has been co-opted by thinkers as the mind’s tool of investigation. Contributors to this volume argue that other senses—touch, taste, smell, hearing—are keys to knowing one’s materials. Only when all these ways of knowing are engaged can making be understood as a rhetorical practice.
In Women’s Ways of Making contributors explore ideas of making that run the gamut from videos produced by beauty vloggers to zine production and art programs at women’s correctional facilities. Bringing together senior scholars, new voices, and a fresh take on material rhetoric, this book will be of interest to a broad range of readers in composition and rhetoric.
Contributors: Angela Clark-Oates, Jane L. Donawerth, Amanda Ellis, Theresa M. Evans, Holly Fulton-Babicke, Bre Garrett, Melissa Greene, Magdelyn Hammong Helwig, Linda Hanson, Jackie Hoermann, Christine Martorana, Aurora Matzke, Jill McCracken, Karen S. Neubauer, Daneryl Nier-Weber, Sherry Rankins-Roberson, Kathleen J. Ryan, Rachael Ryerson, Andrea Severson, Lorin Shellenberger, Carey Smitherman-Clark, Emily Standridge, Charlese Trower, Christy I. Wenger, Hui Wu, Kathleen Blake Yancey
Women's Wisconsin: From Native Matriarchies to the New Millennium, a women's history anthology published on Women's Equality Day 2005, made history as the first single-source history of Wisconsin women. This unique tome features dozens of excerpts of articles as well as primary sources, such as women's letters, reminiscences, and oral histories, previously published over many decades in the Wisconsin Magazine of History and other Wisconsin Historical Society Press publications.
Editor and historian Genevieve G. McBride provides the contextual commentary and overarching analysis to make the history of Wisconsin women accessible to students, scholars, and lifelong learners.
Ozouf uses the woman's portrait, traditionally a male genre, to portray ten French women of letters whose lives span the period from the eve of the French Revolution to the resurgence of the feminist movement in the late twentieth century. She studies the letters and memoirs of Mme du Deffand, Mme de Charrière, Mme Roland, Mme de Staël, Mme de Rémusat, George Sand, Hubertine Auclert, Colette, Simone Weil, and Simone de Beauvoir. Rejecting the male constructions of femininity typical of this genre, Ozouf restores these women's voices in order to study their own often-conflicted attitudes toward education, marriage, motherhood, sex, and work, as well as the dilemma of writing in a literary world that did not support women's work.
Ozouf claims that a uniquely French feminism informed these women's lives, one that stems from the great egalitarian spirit of the French Revolution and is more tolerant of difference than its American counterparts. She argues that as a result, modern French culture has not isolated women from men in the same ways as American and British cultures have done.
In Women's Work the authors blend newly available quantitative evidence with historical narrative to show that distinctive regional school structures and related cultural patterns account for the initial regional difference, while a growing recognition that women could handle the work after they temporarily replaced men during the Civil War helps explain this widespread shift to female teachers later in the century. Yet despite this shift, a significant gender gap in pay and positions remained. This book offers an original and thought-provoking account of a remarkable historical transition.
Changing occupational patterns during the 1920s and 1930s opened up new opportunities to women in a variety of fields. In a fresh approach to the history of women, Winifred D. Wandersee explores how the family, work, and family values took on new shapes during this critical period. By the 1920s, the increase in consumerism, encouraged by high production and mass advertising, had redefined the idea of an acceptable standard of living. For some, it was not possible to achieve this standard on the income of one wage earner, and women's employment outside the home became increasingly necessary. For most women, Wandersee shows, this trend to outside work was a reflection not of feminist ideology but of women's commitment to family values.
Wandersee finds that economic demands exerted even less influence on women than did societal and domestic demands. The proportion of married women who were gainfully employed during the 1920s, for example, was never more than 25 percent of all wives. Those who adapted to a joint economic and domestic role usually did so because their need was great, or their employment opportunity was favorable, or their value system stressed the material comfort of the family at the expense of traditional concepts of women's roles. Wandersee relates the experiences of these last two groups of women to the long-range changes in values and life-styles that have culminated in the American family of today.
Women’s Work in Post-War Italy explores women’s labor following World War II and Italy’s new republic. War and national reconstruction have typically been framed as masculine undertakings in Italy, but Flora Derounian shifts that frame to investigate the labor that Italian women were doing at this critical time of political, social, and ideological change, as well as how it was viewed by society and by women workers themselves. Drawing on original oral history interviews, Derounian compares women’s own words with the very different ways they were pictured in film, giving voice to the under-represented, and exposing the profound difference that work made to women’s lives.
Through dance, women asserted power in spheres largely dominated by men: the court, the theater, and the church. As women’s dance worlds intersected with men’s, their lives and visions were supported or opposed, creating a complex politics of creative, spiritual, and political expression. From a women’s religious order in the thirteenth-century Low Countries that used dance as a spiritual rite of passage to the salon culture of eighteenth-century France where dance became an integral part of women’s cultural influence, the writers in this volume explore the meaning of these women’s stories, performances, and dancing bodies, demonstrating that dance is truly a field across which women have moved with finesse and power for many centuries past.
This volume will be a useful reference for educators, practice-based researchers, and scholars, not only of electronic literature but also in the adjacent areas of language art, new media art practices, digital humanities, and feminist studies.
A noted literary scholar traverses the Russian canon, exploring how realists, idealists, and revolutionaries debated good and evil, moral responsibility, and freedom.
Since the age of Tolstoy, Dostoevsky, and Chekhov, Russian literature has posed questions about good and evil, moral responsibility, and human freedom with a clarity and intensity found nowhere else. In this wide-ranging meditation, Gary Saul Morson delineates intellectual debates that have coursed through two centuries of Russian writing, as the greatest thinkers of the empire and then the Soviet Union enchanted readers with their idealism, philosophical insight, and revolutionary fervor.
Morson describes the Russian literary tradition as an argument between a radical intelligentsia that uncompromisingly followed ideology down the paths of revolution and violence, and writers who probed ever more deeply into the human condition. The debate concerned what Russians called “the accursed questions”: If there is no God, are good and evil merely human constructs? Should we look for life’s essence in ordinary or extreme conditions? Are individual minds best understood in terms of an overarching theory or, as Tolstoy thought, by tracing the “tiny alternations of consciousness”? Exploring apologia for bloodshed, Morson adapts Mikhail Bakhtin’s concept of the non-alibi—the idea that one cannot escape or displace responsibility for one’s actions. And, throughout, Morson isolates a characteristic theme of Russian culture: how the aspiration to relieve profound suffering can lead to either heartfelt empathy or bloodthirsty tyranny.
What emerges is a contest between unyielding dogmatism and open-minded dialogue, between heady certainty and a humble sense of wonder at the world’s elusive complexity—a thought-provoking journey into inescapable questions.
Imagine a stage full of black cats emitting electrical sparks, a man catching bullets with his teeth, or an evangelist jumping on a transformer to shoot bolts of lightning through his fingertips. These and other wild schemes were part of the repertoire of showmen who traveled from city to city, making presentations that blended science with myth and magic.
In Wonder Shows, Fred Nadis offers a colorful history of these traveling magicians, inventors, popular science lecturers, and other presenters of “miracle science” who revealed science and technology to the public in awe-inspiring fashion. The book provides an innovative synthesis of the history of performance with a wider study of culture, science, and religion from the antebellum period to the present.
It features a lively cast of characters, including electrical “wizards” Nikola Tesla and Thomas Alva Edison, vaudeville performers such as Harry Houdini, mind readers, UFO cultists, and practitioners of New Age science. All of these performers developed strategies for invoking cultural authority to back their visions of science and progress. The pseudo-science in their wonder shows helped promote a romantic worldview that called into question the absolute authority of scientific materialism while reaffirming the importance of human spirituality. Nadis argues that the sensation that these entertainers provided became an antidote to the alienation and dehumanization that accompanied the rise of modern America.
Although most recent defenders of science are prone to reject wonder, considering it an ally of ignorance and superstition, Wonder Shows demonstrates that the public’s passion for magic and meaning is still very much alive. Today, sales continue to be made and allegiances won based on illusions that products are unique, singular, and at best, miraculous. Nadis establishes that contemporary showmen, corporate publicists, advertisers, and popular science lecturers are not that unlike the magicians and mesmerists of years ago.
In detailing the events leading to the 1927 World Series, Leo Trachtenberg weaves players’ profiles and histories along with those of the Yankee owner, management, coaches, scouts, trainer, and batboy/mascot. Also included are 1927 statistics and photos from Yankee archives.
Why pause and study this particular painting among so many others ranged on a gallery wall? Wonder, which Descartes called the first of the passions, is at play; it couples surprise with a wish to know more, the pleasurable promise that what is novel or rare may become familiar. This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.
In three instructive instances--a pair of paintings by Cy Twombly, the famous problem of doubling the area of a square, and the history of attempts to explain rainbows--Philip Fisher examines the experience of wonder as it draws together pleasure, thinking, and the aesthetic features of thought. Through these examples he places wonder in relation to the ordinary and the everyday as well as to its opposite, fear. The remarkable story of how rainbows came to be explained, fraught with errors, half-knowledge, and incomplete understanding, suggests that certain knowledge cannot be what we expect when wonder engages us. Instead, Fisher argues, a detailed familiarity, similar to knowing our way around a building or a painting, is the ultimate meeting point for aesthetic and scientific encounters with novelty, rare experiences, and the genuinely new.
Comics expert Noah Berlatsky takes us on a wild ride through the Wonder Woman comics of the 1940s, vividly illustrating how Marston’s many quirks and contradictions, along with the odd disproportionate composition created by illustrator Harry Peter, produced a comic that was radically ahead of its time in terms of its bold presentation of female power and sexuality. Himself a committed polyamorist, Marston created a universe that was friendly to queer sexualities and lifestyles, from kink to lesbianism to cross-dressing. Written with a deep affection for the fantastically pulpy elements of the early Wonder Womancomics, from invisible jets to giant multi-lunged space kangaroos, the book also reveals how the comic addressed serious, even taboo issues like rape and incest.
Comics expert Noah Berlatsky takes us on a wild ride through the Wonder Woman comics of the 1940s, vividly illustrating how Marston’s many quirks and contradictions, along with the odd disproportionate composition created by illustrator Harry Peter, produced a comic that was radically ahead of its time in terms of its bold presentation of female power and sexuality. Himself a committed polyamorist, Marston created a universe that was friendly to queer sexualities and lifestyles, from kink to lesbianism to cross-dressing. Written with a deep affection for the fantastically pulpy elements of the early Wonder Woman comics, from invisible jets to giant multi-lunged space kangaroos, the book also reveals how the comic addressed serious, even taboo issues like rape and incest.
Wonder Woman: Bondage and Feminism in the Marston/Peter Comics 1941-1948 reveals how illustrator and writer came together to create a unique, visionary work of art, filled with bizarre ambition, revolutionary fervor, and love, far different from the action hero symbol of the feminist movement many of us recall from television.
A thirteenth-century treatise on the theory and practice of ophthalmology, this unique work provides a window on what passed for medical knowledge of the eye during the late Middle Ages. Although little is known of the author, Benevenutus Grassus, he seems to have roamed Italy in the early thirteenth century as a medical practitioner specializing in diseases of the eye.
In postrevolutionary Russia, as the Soviet government pursued rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. Despite their utilitarian intentions, however, most avant-gardists rarely created works regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists’ fusion of technology and aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.
“Carson Brewer at his absolute best.” – Sam Venable
Carson Brewer on…
Mountain places
Snow was nice and crunchy underfoot. Not crunchy like peanuts or cornflakes. Rather, it was a silky whispery crunchy.
Mountain plants
You can bury your nose deep in the cool violet bed and smell the mix of life and death while pondering the unceasing cycle of each into the other.
Mountain People
Lem Ownby…has plowed oxen, mules, and horses on the forty-four acre farm on Jakes Creek. But he has never owned or driven an automobile.
The Author: Carson Brewer was a reporter and columnist for more than forty years. His columns on conservation issues and on the Great Smoky Mountains earned him the E.J. Meeman Conservation Award (twice) from the Scripps-Howard Foundation, the Golden Press Card award from the Society of Professional Journalists (which also named a scholarship in his honor in 1984), and the inaugural Lifetime Achievement Award from the Knoxville Writers Guild. He died on January 15, 2003.
Drawing on extensive historical research, Swanson presents little-known accounts of people who saw in these sculptured landscapes something worth protecting. Readers are introduced to the region’s early explorers, scientists, artists, and travelers as well as the local residents and tourism promoters who worked with the National Park Service to build the system of parks and monuments we know today, when Utah’s national parks and monuments face multiple challenges from increased human use and from development outside their borders. As scientists continue to uncover the astonishing diversity of life in these desert and mountain landscapes, and archaeologists and Native Americans document their rich cultural resources, the management of these federal lands remains critically important. Swanson provides us with a detailed and timely background to advance and inform discussions about what form that management should take.
With Wonders of the Plant Kingdom, the naked eye gets an unforgettable boost. A stunning collaboration between science and art, this gorgeous book presents hundreds of images of plants taken with a scanning electron microscope and hand-colored by artist Rob Kesseler to reveal the awe-inspiring adaptations all around us. The surface of a peach—with its hairs, or trichomes, and sunken stomata, or breathing pores—emerges from these pages in microscopic detail. The dust-like seeds of the smallest cactus species in the world, the Blossfeldia liliputana—which measures just twelve millimeters fully grown—explode here with form, color, and character, while the flower bud of a kaffir lime, cross-sectioned, reveals the complex of a flower bud with the all-important pistil in the center.
Accompanying these extraordinary images are up-to-date explanations of the myriad ways that these plants have ensured their own survival—and, by proxy, our own. Gardeners and science buffs alike will marvel at this wholly new perspective on the world of plant diversity.
When the British Museum opened its doors more than two centuries ago, scores of visitors waited eagerly outside for a first glimpse of ancient relics from Egypt, Greece, and Rome. Even today, in this age of satellite television and high-speed Internet access, museums maintain their unique allure, continuing to play a vital role in connecting us with little-known terrains and the deep mysteries of our historical past. That’s because, as Stephanie Moser argues in Wondrous Curiosities, museum displays don’t just transmit knowledge—they actually create it.
Based on her exploration of the British Museum’s world-famous collection of Egyptian antiquities, this pioneering study reveals the powerful role of museums in shaping our understanding of science, culture, and history. Drawing on guidebooks and archival documents, Moser demonstrates that this British exhibition of ancient Egyptian artifacts was central to the way we came to define the remarkable society that produced them. And she also reveals the specific strategies—such as using pattern and symmetry, juxtaposing different types of objects, and singling out particular items—that the British Museum and others used, and still use, in representing the past. With a wealth of illustrations and a detailed account of how the museum acquired and displayed its Egyptian collections, Wondrous Curiosities will fascinate curators and scholars of British history, Egyptology, art history, archaeology, and the history of science.
Called the leading heir to the great directors of post-WWII Europe and lavished with awards, Wong Kar-wai has redefined perceptions of Hong Kong's film industry. Wong's visual brilliance and emphasis on atmosphere over action have set him apart from peers while earning him an admiring international audience. In the Mood for Love regularly appears on lists of the twenty-first century's greatest films while critics and filmgoers recognize works like Chungking Express and Happy Together as modern classics.
Peter Brunette describes the ways in which Wong's supremely haunting visual films create a new form of cinema by telling a story with stunning, suggestive visual images and audio tracks rather than character, dialogue, and plot. As he shows, Wong's early background in genre film offers fascinating insights on his more studied later works. He also delves into Wong's perennial themes of time, love, and loss and examines the political implications of his films, especially concerning the handover of former British colony Hong Kong to the People's Republic of China.
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