A SCHOLARLY BOOK REPOSITORY372 start with W start with W
H.D.’s friends and lovers were a veritable Who’s Who of Modernism, and Hollenberg gives us a glimpse into H.D.’s relationships with them. With rich detail, the biography follows H.D. from her early years in America with her family, to her later years in England during both world wars, to Switzerland, which would eventually become H.D.’s home base. It explores her love affairs with both men and women; her long friendship with Bryher; the birth of her daughter, Perdita, and her imaginative bond with her; and her marriage to (and later divorce from) fellow poet Richard Aldington. Additionally, the book includes scenes from her relationships with Ezra Pound, Marianne Moore, William Carlos Williams, and D.H. Lawrence; H.D.’s fascination with spiritualism and the occult; and H.D.’s psychoanalysis with Sigmund Freud. The first new biography of H.D. to be published in over four decades, Winged Words is a must-read resource for anyone conducting research on H.D.
Winifred Sanford is generally regarded by critics as one of the best and most important early twentieth-century Texas women writers, despite publishing only a handful of short stories before slipping into relative obscurity. First championed by her mentor, H. L. Mencken, and published in his magazine, The American Mercury, many of Sanford’s stories were set during the Texas oil boom of the 1920s and 1930s and offer a unique perspective on life in the boomtowns during that period. Four of her stories were included in The Best American Short Stories of 1926.
Questioning the sudden end to Sanford’s writing career, Wiesepape, a leading literary historian of Texas women writers, delved into the author’s previously unexamined private papers and emerged with an insightful and revealing study that sheds light on both Sanford’s abbreviated career and the domestic lives of women at the time. The first in-depth account of Sanford’s life and work, Wiesepape’s biography discusses Sanford’s fiction through the lens of the sociohistorical contexts that shaped and inspired it. In addition, Wiesepape has included two previously unpublished stories as well as eighteen previously unpublished letters to Sanford from Mencken.
Winifred Sanford is an illuminating biography of one of the state’s unsung literary jewels and an important and much-needed addition to the often overlooked field of Texas women’s writing.
Winning the War for Democracy: The March on Washington Movement, 1941-1946 recalls that triumph, but also looks beyond Randolph and the MOWM's national leadership to focus on the organization's evolution and actions at the local level. Using the personal papers of previously unheralded MOWM members such as T.D. McNeal, internal government documents from the Roosevelt administration, and other primary sources, David Lucander highlights how local affiliates fighting for a double victory against fascism and racism helped the national MOWM accrue the political capital it needed to effect change.
Lucander details the efforts of grassroots organizers to implement MOWM's program of empowering African Americans via meetings and marches at defense plants and government buildings and, in particular, focuses on the contributions of women activists like Layle Lane, E. Pauline Myers, and Anna Arnold Hedgeman. Throughout he shows how local activities often diverged from policies laid out at MOWM's national office, and how grassroots participants on both sides ignored the rivalry between Randolph and the leadership of the NAACP to align with one another on the ground.
In 1946 Winston Churchill shook the world with his famous "Iron Curtain" speech on the campus of Westminster College in Fulton, Missouri, now the site of the Winston Churchill Memorial and Library. Inscribed on the pediment of his statue at the memorial is the epigraph from Churchill's History of the Second World War:
In War: Resolution
In Defeat: DefianceIn Victory: MagnanimityIn Peace: Good WillNo other words provide so poignant a summary of the principles that sustained Churchill's life's work.
Under the auspices of the Winston Churchill Memorial and Library, the Crosby Kemper Lectureship was established in 1979 by the Enid and Crosby Kemper Foundation of Kansas City, Missouri. Lectures have been delivered annually, or biennially, at the Winston Churchill Memorial and Library on the campus of Westminster College by authorities on British history and on Sir Winston Churchill. The essays included in this volume constitute the first dozen Crosby Kemper lectures, most by individuals who were personally acquainted with Churchill and all by individuals who had studied his life and his work.
Lord Robert Blake discusses Churchill's ambivalence toward the Conservative party during his political career. Philip S. Ziegler, Earl Mountbatten's biographer, examines whether Britain should have granted independence to India in 1947, taking as his departure Churchill's unequivocal belief that Britain's imperial rule there was a sacred trust not to be betrayed. Martin Gilbert, Churchill's biographer, carefully examines the origins of the Cold War and the famous Iron Curtain speech. Sir Michael Howard, Lovett Professor and Naval Historian at Yale University, further examines Churchill's role during the Cold War and the formulation of his "two-track" strategy that pushed for military strength while persistently striving for peace with the Soviets. Sir John Colville, Churchill's private secretary, ponders the extent to which great men are made by circumstances, citing Churchill's peccadilloes and strengths. Churchill's daughter Mary Soames and granddaughter, the sculptor Edwina Sandys, also give moving portraits of a much-loved family man.
All bring this illustrious leader to life in the process of interpreting his political actions, reviewing his historical contributions, and sharing anecdotes about his personal life.
Winner, Spur Award for Best Western Long Novel (Western Writers of America) and Southwest Book Award (Border Regional Library Association)
On February 10, 1918, John Power woke to the sound of bells and horses’ hooves. He was sharing a cabin near the family mine with his brother Tom and their father Jeff; hired man Tom Sisson was also nearby. Then gunfire erupted, and so began the day when the Power brothers engaged the Graham County Sheriff’s Department in the bloodiest shootout in Arizona history.
Now Thomas Cobb, author of Crazy Heart and Shavetail, has taken up the story in this powerful and meticulously researched nonfiction novel. What seems at first a simple tale of crime and pursuit takes on much greater meaning and complexity as the story traces the past lives of the main characters and interconnects them—all leading back to the deadly confrontation that begins the book. Cobb cunningly weaves the story of the Power brothers’ escape with flashbacks of the boys’ father’s life and his struggle to make a living ranching, logging, and mining in the West around the turn of the century. Deftly drawn characters and cleverly concealed motivations work seamlessly to blend a compelling family history with a desperate story of the brothers as they attempt to escape.
Grappling with themes of loyalty, masculinity, technology, and honor, this sweeping saga reveals the passion and brutality of frontier life in Arizona a hundred years ago. Richly authentic and beautifully written, With Blood in Their Eyes breathes dramatic new life into this nearly forgotten episode of the American West.
Women who were sixty or older at the turn of the twenty-first century have lived through some of recent history's most momentous moments—and yet these women often believe that their personal lives and stories are insignificant, not worthy of being recorded for future generations. To change that perception and capture some of these life stories before they are lost, the Story Circle Network, a national organization dedicated to helping women write about their lives, developed the Older Women's Legacy (OWL) Circle Memoir Workshops. During the first two years of the project (1998-2000), nearly 500 older women participated in workshops that offered them the opportunity and encouragement to reflect on and create written records of their lives.
With Courage and Common Sense presents an extensive selection of memoirs from the OWL Circle project. Organized thematically, they describe women's experiences of identity, place, work, family life, love and marriage, loss and healing, adventures great and small, major historical events, and legacies to keep and pass along. Taken as a whole, the memoirs chronicle far-reaching changes in the ways that women participated in the world during the twentieth century. They show how women learned to surmount obstacles, to courageously make the most of the opportunities that came their way, and to move quietly and wisely beyond the limits that were imposed upon them.
What can we learn from this farsighted individual?
In a day and age of partisan politics, poor congressional approval ratings, and global warming and climate change, this captivating biography offers a profound and historical record into Udall’s life-long devotion to environmental issues he cared about most deeply—issues more relevant today than they were then. Intimate moments include Udall’s learning of the Kennedy assassination, his push for civil rights for African Americans, his meeting in the U.S.S.R. with Nikita Khrushchev—the first Kennedy cabinet member to do so—and his warnings about global warming 50 years prior to Al Gore’s Nobel Prize-winning film.
Contributors bring to light the presence and persistence of Jewish anarchism throughout histories of radical labor, women’s studies, political theory, multilingual literature, and ethnic studies.
These essays reveal an ongoing engagement with non-Jewish radical cultures, including the translation practices of the Jewish anarchist press. Jewish anarchists drew from a matrix of secular, cultural, and religious influences, inventing new anarchist forms that ranged from mystical individualism to militantly atheist revolutionary cells.
With Freedom in Our Ears brings together more than a dozen scholars and translators to write the first collaborative history of international, multilingual, and transdisciplinary Jewish anarchism.
With or Without explores the role of German women’s poetry in the contemporary literary discourse of the latter half of the twentieth century. Melin highlights the significant role that women played in the shaping of postwar German poetry as a whole and also their deep engagement with the broader issues of modernism, postmodernism, and related discourses about the relationship between individual experience, communal ideals, and interpersonal expression. Melin shows that for German writers poetry became the genre that had the capacity to project subjectivity, voice, and authenticity.
The essays in this collection—many of which are not widely available today—either initiated or gave critical definition to specific periods or movements of African American literature. They address issues such as integration, separatism, political action, black nationalism, Afrocentricity, black feminism, as well as the role of art, the artist, the critic, and the audience. With selections from Langston Hughes, Sterling Brown, W. E. B. DuBois, Zora Neale Hurston, Richard Wright, James Baldwin, Toni Morrison, Barbara Smith, Alice Walker, Henry Louis Gates, Jr., and many others, this definitive collection provides a dynamic model of the cultural, ideological, historical, and aesthetic considerations in African American literature and literary criticism.
A major contribution to the study of African American literature, this volume will serve as a foundation for future work by students and scholars. Its importance will be recognized by all those interested in modern literary theory as well as general readers concerned with the African American experience.
Selections by (partial list): Houston A. Baker, Jr., James Baldwin, Sterling Brown, Barbara Christian, W. E. B. DuBois, Ralph Ellison, LeRoi Jones, Sarah Webster Fabio, Henry Louis Gates, Jr., W. Lawrence Hogue, Langston Hughes, Zora Neale Hurston, Alain Locke, Deborah E. McDowell, Toni Morrison, J. Saunders Redding, George Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Robert B. Stepto, Alice Walker, Margaret Walker, Mary Helen Washington, Richard Wright
The book examines both the potential and limits of women’s humor as a rhetorical strategy in the writings of James Thurber, Zora Neale Hurston, Dorothy Parker, Edward Albee, Louise Erdrich, and others. For Zwagerman, these texts “talk back” to important arguments in humor studies and speech-act theory. He deconstructs the use of humor in select passages by employing the theories of J. L. Austin, John Searle, Jacques Derrida, Shoshana Felman, J. Hillis Miller, and Eve Kosofsky Sedgwick. Zwagerman offers arguments both for and against these approaches while advancing new thinking on humor as the “end”—both the goal and limit—of performative strategy, and as a means of expressing a full range of serious purposes.
Zwagerman contends that women’s humor is not solely a subversive act, but instead it should be viewed in the total speech situation through context, motives, and intended audience. Not strictly a transgressive influence, women’s humor is seen as both a social corrective and a reinforcement of established ideologies. Humor has become an epistemology, an “attitude” or slant on one’s relation to society.
Zwagerman seeks to broaden the scope of performativity theory beyond the logical pragmatism of deconstruction and looks to the use of humor in literature as a deliberate stylization of experiences found in real-world social structures, and as a tool for change.
Brennan details the actions and experiences of prominent anti-communists Jean Kerr McCarthy, Margaret Chase Smith, Freda Utley, Doloris Thauwald Bridges, Elizabeth Churchill Brown, and Phyllis Stewart Schlafly. She describes the Cold War context in which these women functioned and the ways in which women saw communism as a very real danger to domestic security and American families. Millions of women, Brennan notes, expanded their notions of household responsibilities to include the crusade against communism. From writing letters and hosting teas to publishing books and running for political office, they campaigned against communism and, incidentally, discovered the power they had to effect change through activism.
Brennan reveals how the willingness of these deeply conservative women to leave the domestic sphere and engage publicly in politics evinces the depth of America's postwar fear of communism. She further argues that these conservative, anti-communist women pushed the boundaries of traditional gender roles and challenged assumptions about women as political players by entering political life to publicly promote their ideals.Wives, Mothers, and the Red Menace offers a fascinating analysis of gender and politics at a critical point in American history. Brennan's work will instigate discussions among historians, political scientists, and scholars of women's studies.
The Southern Baptist Convention (SBC) represents the largest Protestant denomination in the United States, yet Southern Baptist women’s voices have been underreported in studies of American religion and culture. In The Woman I Am, Melody Maxwell explores how female Southern Baptist writers and editors in the twentieth century depicted changing roles for women and responded to the tensions that arose as Southern Baptist women assumed leadership positions, especially in the areas of missions and denominational support.
Given access to a century of primary sources and archival documents, Maxwell writes, as did many of her subjects, in a style that deftly combines the dispassionate eye of an observer with the multidimensional grasp of a participant. She examines magazines published by Woman’s Missionary Union (WMU), an auxiliary to the SBC: Our Mission Fields (1906–1914), Royal Service (1914–1995), Contempo (1970–1995), and Missions Mosaic (1995–2006). In them, she traces how WMU writers and editors perceived, constructed, and expanded the lives of southern women.
Showing ingenuity and resiliency, these writers and editors continually, though not always consciously, reshaped their ideal of Christian womanhood to better fit the new paths open to women in American culture and Southern Baptist life. Maxwell’s work demonstrates that Southern Baptists have transformed their views on biblically sanctioned roles for women over a relatively short historical period.
How Southern Baptist women perceive women’s roles in their churches, homes, and the wider world is of central importance to readers interested in religion, society, and gender in the United States. The Woman I Am is a tour de force that makes a lasting contribution to the world’s understanding of Southern Baptists and to their understanding of themselves.
With chapters on Gogol, Tolstoy, and Dostoevsky as well as Pasternak and Nabokov, The Woman in the Window argues that Russian authors worked through this question via their depictions of “mixed-up men.” Such characters, according to Valentino, reveal that in a world where social reality and personal identity depend on consensual fantasies, the old masculine figure loses its grounding and can easily drift away. Valentino charts a range of masculine character types thrown off stride by the new commercially inflected world: those who embrace blind confidence, those who are split with doubt or guilt, and those who look for an ideal of steadfastness and purity to keep afloat—a woman in a window.
Two events in wartime Los Angeles thrust young Mexican American zoot suiters into the media spotlight. In the Sleepy Lagoon incident, a man was murdered during a mass brawl in August 1942. Twenty-two young men, all but one of Mexican descent, were tried and convicted of the crime. In the Zoot Suit Riots of June 1943, white servicemen attacked young zoot suiters, particularly Mexican Americans, throughout Los Angeles. The Chicano movement of the 1960s–1980s cast these events as key moments in the political awakening of Mexican Americans and pachucos as exemplars of Chicano identity, resistance, and style. While pachucas and other Mexican American women figured in the two incidents, they were barely acknowledged in later Chicano movement narratives. Catherine S. Ramírez draws on interviews she conducted with Mexican American women who came of age in Los Angeles in the late 1930s, 1940s, and 1950s as she recovers the neglected stories of pachucas. Investigating their relative absence in scholarly and artistic works, she argues that both wartime U.S. culture and the Chicano movement rejected pachucas because they threatened traditional gender roles. Ramírez reveals how pachucas challenged dominant notions of Mexican American and Chicano identity, how feminists have reinterpreted la pachuca, and how attention to an overlooked figure can disclose much about history making, nationalism, and resistant identities.
Bethany Wood examines three well-known stories that debuted as women’s magazine serials—Gentlemen Prefer Blondes, Edith Wharton’s The Age of Innocence, and Edna Ferber’s Show Boat—and traces how each of these beloved narratives traveled across publishing, theatre, and film through adaptation. She documents the formation of adaptation systems and how they involved women’s voices and labor in modern entertainment in ways that have been previously underappreciated. What emerges is a picture of a unique window of time in the early decades of the twentieth century, when women in entertainment held influential positions in production and management. These days, when filmic adaptations seem endless and perhaps even unoriginal, Women Adapting challenges us to rethink the popular platitude, “The book is always better than the movie.”
Healing roles and rituals involving alcohol are a major source of power and identity for women and men in Highland Chiapas, Mexico, where abstention from alcohol can bring a loss of meaningful roles and of a sense of community. Yet, as in other parts of the world, alcohol use sometimes leads to abuse, whose effects must then be combated by individuals and the community.
In this pioneering ethnography, Christine Eber looks at women and drinking in the community of San Pedro Chenalhó to address the issues of women’s identities, roles, relationships, and sources of power. She explores various personal and social strategies women use to avoid problem drinking, including conversion to Protestant religions, membership in cooperatives or Catholic Action, and modification of ritual forms with substitute beverages.
The book’s women-centered perspective reveals important data on women and drinking not reported in earlier ethnographies of Highland Chiapas communities. Eber’s reflexive approach, blending the women’s stories, analyses, songs, and prayers with her own and other ethnographers’ views, shows how Western, individualistic approaches to the problems of alcohol abuse are inadequate for understanding women’s experiences with problem and ritual drinking in a non-Western culture.
In a new epilogue, Christine Eber describes how events of the last decade, including the Zapatista uprising, have strengthened women's resolve to gain greater control over their lives by controlling the effects of alcohol in the community.
Cohen shows how Duras's writings, even the controversial "erotic" works, expose and subvert the repression of women in traditional, dominant discourse and at the same time present an alternative, nonrepressive discursive model. She formulates a concept of creative "ignorance," which she identifies as the generative principle of Duras's textual production and the approach to language it proposes. Cohen also explores the distinctive features of Duras's prose, describing how the writer achieves the ritual, legendary aura that characterizes her work.
Women and New Hollywood revises our understanding of this important era in American film by examining the contributions that women made not only as directors, but also as screenwriters, editors, actors, producers, and critics. Including essays on film history, film texts, and the decade’s film theory and criticism, this collection showcases the rich and varied cinematic products of women’s creative labor, as well as the considerable barriers they faced. It considers both women working within and beyond the Hollywood film industry, reconceptualizing New Hollywood by bringing it into dialogue with other American cinemas of the 1970s. By valuing the many forms of creative labor involved in film production, this collection offers exciting alternatives to the auteurist model and new ways of appreciating the themes and aesthetics of 1970s American film.
The astonishing talent of Argentine women writers belies the struggles they have faced—not merely as overlooked authors, but as women of conviction facing oppression. The patriarchal pressures of the Perón years, the terror of the Dirty War, and, more recently, the economic collapse that gripped the nation in 2001 created such repressive conditions that some writers, such as Luisa Valenzuela, left the country for long periods. Not surprisingly, power has become an inescapable theme in Argentine women's fiction, and this collection shows how the dynamics of power capture not only the political world but also the personal one. Whether their characters are politicians and peasants, torturers and victims, parents and children, or lovers male and female, each writer explores the effects of power as it is exercised by or against women.
The fifteen writers chosen for Women and Power in Argentine Literature include famous names such as Valenzuela, as well as authors anthologized for the first time, most notably María Kodama, widow of Jorge Luis Borges. Each chapter begins with a "verbal portrait," editor Gwendolyn Díaz's personal impression of the author at ease, formed through hours of conversation and interviews. A biographical essay and critical commentary follow, with emphasis on the work included in this anthology. Díaz's interviews, translated from Spanish, and finally the stories themselves—only three of which have been previously published in English—complete the chapters. The extraordinary depth of these chapters reflects the nuanced, often controversial portrayals of power observed by Argentine women writers. Inspiring as well as insightful, Women and Power in Argentine Literature is ultimately about women who, in Díaz's words, "choose to speak their truth regardless of the consequences."
In Women and Rhetoric between the Wars, editors Ann George, M. Elizabeth Weiser, and Janet Zepernick have gathered together insightful essays from major scholars on women whose practices and theories helped shape the field of modern rhetoric. Examining the period between World War I and World War II, this volume sheds light on the forgotten rhetorical work done by the women of that time. It also goes beyond recovery to develop new methodologies for future research in the field.
Collected within are analyses of familiar figures such as Jane Addams, Amelia Earhart, Helen Keller, and Bessie Smith, as well as explorations of less well known, yet nevertheless influential, women such as Zitkala-Ša, Jovita González, and Florence Sabin. Contributors evaluate the forces in the civic, entertainment, and academic scenes that influenced the rhetorical praxis of these women. Each essay presents examples of women’s rhetoric that move us away from the “waves” model toward a more accurate understanding of women’s multiple, diverse rhetorical interventions in public discourse. The collection thus creates a new understanding of historiography, the rise of modern rhetorical theory, and the role of women professionals after suffrage. From celebrities to scientists, suffragettes to academics, the dynamic women of this volume speak eloquently to the field of rhetoric studies today.
Focusing on women's everyday use of streetcars, shops, restaurants, and theaters, Sewell reveals the impact of women on these public places-what women did there, which women went there, and how these places were changed in response to women's presence. Using the diaries of three women in San Francisco-Annie Haskell, Ella Lees Leigh, and Mary Eugenia Pierce, who wrote extensively on their everyday experiences-Sewell studies their accounts of day trips to the city and combines them with memoirs, newspapers, maps, photographs, and her own observations of the buildings that exist today to build a sense of life in San Francisco at this pivotal point in history.
In Women and Their Warlords, historian Kate Merkel-Hess examines the lives and personalities of the female relatives of the military rulers who governed regions of China from 1916 to 1949. Posing for candid photographs and sitting for interviews, these women did not merely advance male rulers’ agendas. They advocated for social and political changes, gave voice to feminist ideas, and shaped how the public perceived them. As the first publicly political partners in modern China, the wives and concubines of Republican-era warlords changed how people viewed elite women’s engagement in politics. Drawing on popular media sources, including magazine profiles and gossip column items, Merkel-Hess draws unexpected connections between militarism, domestic life, and state power in this insightful new account of gender and authority in twentieth-century China.
Following the conference in The Hague, Addams and Balch traveled around Europe as members of delegations visiting various governmental leaders to demand an end to the war. In this book they describe the activities of these delegations, painting a vivid portrait of the emerging women's peace movement.
With the continuing growth of the peace movement, the essays in Women at the Hague remain as timely as they were when first published in 1915. Addams, Balch, and Hamilton write compellingly about the organizing methods and collaborative spirit of the women's peace movement, conveying a strong awareness of the responsibility of women to protect the global community from the devastating effects of war.
The heroes of World War II were often heroines. This full and spirited account of the impact of the war on the private and public lives of American women provides a model for future social histories of twentieth-century America.
Using a wealth of new archival and statistical data, D'Ann Campbell explores the response of women throughout the country to the war emergency. She studies all the major roles, whether in the military, in nursing, in war factories, in volunteer work, or in the home, and she delineates experiences among different social classes, races, and age groups. Especially comprehensive is her discussion of the resistance of men to the new roles of women in the military, in the business world, and in labor unions.
Most women, Campbell finds, sought to protect and enrich their private spheres. She examines the challenges faced by housewives—shortages, migrations, rationing—and the emotional upheaval inside the family as husbands were sent to war. With the coming of peace, women consolidated their devotion to private values, and the result was the suburban life style revolving around the family that typified the 1950s. While Campbell looks back to the depression years and forward to the 1980s, her concern is with the women of the early 1940s. To their needs, values, and expectations, and to the tensions of the era between patriotic demands and private desires, she brings a clear and balanced view and shrewd, imaginative insight.
As mass media burgeoned in the years between the first and second world wars, so did another phenomenon—celebrity. Beginning in Hollywood with the studio-orchestrated transformation of uncredited actors into brand-name stars, celebrity also spread to writers, whose personal appearances and private lives came to fascinate readers as much as their work. Women, Celebrity, and Literary Culture between the Wars profiles seven American, Canadian, and British women writers—Dorothy Parker, Anita Loos, Mae West, L. M. Montgomery, Margaret Kennedy, Stella Gibbons, and E. M. Delafield—who achieved literary celebrity in the 1920s and 1930s and whose work remains popular even today.
Faye Hammill investigates how the fame and commercial success of these writers—as well as their gender—affected the literary reception of their work. She explores how women writers sought to fashion their own celebrity images through various kinds of public performance and how the media appropriated these writers for particular cultural discourses. She also reassesses the relationship between celebrity culture and literary culture, demonstrating how the commercial success of these writers caused literary elites to denigrate their writing as "middlebrow," despite the fact that their work often challenged middle-class ideals of marriage, home, and family and complicated class categories and lines of social discrimination.
The first comparative study of North American and British literary celebrity, Women, Celebrity, and Literary Culture between the Wars offers a nuanced appreciation of the middlebrow in relation to modernism and popular culture.
Fleissner shows that this era's expanding opportunities for women were inseparable from the same modern developments—industrialization, consumerism—typically believed to constrain human freedom. With Women, Compulsion, and Modernity, Fleissner creates a new language for the strange way the writings of the time both broaden and question individual agency.
What attracts women to far-right movements that appear to denigrate their rights?
This question has vexed feminist scholars for decades and has led to many lively debates in the academy. In this context, during the 1980s, the study of women, gender, and fascism in twentieth-century Europe took off, pioneered by historians such as Claudia Koonz and Victoria de Grazia. This volume makes an exciting contribution to the evolving body of work based upon these earlier studies, bringing emerging scholarship on Central and Eastern Europe alongside that of more established Western European historiography on the topic.
Women, Gender and Fascism in Europe, 191945 features fourteen essays covering Serbia, Croatia, Yugoslavia, Romania, Hungary, Latvia, and Poland in addition to Germany, Italy, France, Spain, and Britain, and a conclusion that pulls together a European-wide perspective. As a whole, the volume provides a compelling comparative examination of this important topic through current research, literature reviews, and dialogue with existing debates. The essays cast new light on questions such as womens responsibility for the collapse of democracy in interwar Europe, the interaction between the womens movement and the extreme right, and the relationships between conceptions of national identity and gender.
Women, Guerrillas, and Love was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
How can literature show us what went awry in the process of liberation, and in the construction of a different, better world? Ileana Rodriguez pursues this question through a reading of "politically committed" literature—texts produced within the context of Latin American guerrilla movements. Che Guevara's diary, testimonios by Omar Cabezas and Tomás Borge, novels and short stories by Sergio Ramírez and Arturo Arias: These are among the works Rodriguez examines.
Rodriguez seeks to pinpoint the relationship between the collective and woman, and between woman and the nation-state. Women, Guerrillas, and Love challenges current assumptions about the relationship of gender and sexuality to writing and state building during revolutionary moments. Employing several theoretical paradigms—Marxism, feminism, deconstruction—these readings take into account the "implosion" of socialist or socialist-like societies responding to the expansion of positivistic cultures. The book participates in the debate over the subjugation of insolvent nationstates to the mandates of the market, and the consequent substitution of economic master narratives for historical ones.
This thoughtful, engaging collection showcases the best nonfiction prose produced by one of the nation's most observant and incisive writers.
This collection of warm, heartfelt essays from award-winning novelist Vicki Covington chronicles the multitude of "in between" moments in the writer's life. These are her stolen moments in between the writing of four novels-Gathering Home, Bird of Paradise, Night Ride Home, and The Last Hotel for Women; in between coauthoring the edgy memoir Cleaving: The Story of a Marriage with her husband Dennis Covington; in between raising two daughters; in between her husband's struggle with cancer and the author's own heart attack; in between a life full of trials and triumphs, disappointments and celebrations - moments that, as Covington demonstrates here, are always rich and revealing.
In the title essay, the author questions why all seven middle-class women who live on her street confess at a neighborhood cookout that in the past 48 hours each of them has cried. In "A Southern Thanksgiving," Covington reflects on the "family dance" that is Thanksgiving in the South: "In the North they put their crazy family members in institutions, but in the South we put them in the living room for everyone to enjoy." In "My Mother's Brain," the author recounts the onset of Alzheimer's in her mother and how, with the spread of the disease, an untapped vein of love is revealed.
Some of these essays were written as weekly newspaper columns for the Birmingham News. Others were written for specific literary occasions, such as the First Annual Eudora Welty Symposium. They are divided into six thematic sections: "Girls and Women," "Neighborhood," "Death," "The South," "Spiritual Matters," and "Writing."
Throughout, as Covington casts her candid, attentive eye on a situation, confusion yields to comprehension, fear flourishes into faith, and anger flows into understanding. In memorializing the small moments of her life, she finds that they are far from peripheral; indeed, they are central to a life full of value and meaning.
The contributors to Women in Agriculture examine how rural women’s expertise was disseminated and how it was received. Through these essays, readers meet subversively lunching ladies in Ontario and African American home demonstration agents in Arkansas. The rural sociologist Emily Hoag made a place for women at the US Department of Agriculture as well as in agricultural research. Canadian rural reformer Madge Watt, British radio broadcaster Mabel Webb, and US ethnobotanists Mary Warren English and Frances Densmore developed new ways to share and preserve rural women’s knowledge. These and the other women profiled here updated and expanded rural women’s roles in shaping their communities and the broader society. Their stories broaden and complicate the history of agriculture in North America and Western Europe.
Contributors:
Linda M. Ambrose, Maggie Andrews, Cherisse Branch-Jones, Joan M. Jensen, Amy McKinney, Anne Moore, Karen Sayer, Margreet van der Burg, Nicola Verdon
Whitt explores the lives of women reporters who achieved significant historical recognition, such as Ida Tarbell and Ida Wells-Barnett. Investigating the often blurry boundary between journalism and literature, she explains how this fluid distinction has actually limited how many scholars perceive the contributions of authors such as Joan Didion and Susan Orlean. Whitt also highlights the work of important novelists, including Willa Cather, Katherine Anne Porter, and Eudora Welty, to shed light on how their work as journalists informed their highly successful fiction.
This study also offers a survey of contributions women have made to the alternative presses, including the environmental press and civil rights activism. Whitt examines important figures in the early feminist press such as Caroline Churchill, editor and reporter for Denver’s Queen Bee, and Betty Wilkins of Kansas City’s Call. Finally, through newsletters, newspapers, magazines, and journals, she traces the history of the lesbian press and points out the ways in which it indicates that the alternative press is thriving.
Women readers, editors, librarians, authors, journalists, booksellers, and others are the subjects in this stimulating new collection on modern print culture. The essays feature women like Marie Mason Potts, editor of Smoke Signals, a mid-twentieth century periodical of the Federated Indians of California; Lois Waisbrooker, publisher of books and journals on female sexuality and women's rights in the decades after the Civil War; and Elizabeth Jordan, author of two novels and editor of Harper's Bazaar from 1900 to 1913. The volume presents a complex and engaging picture of print culture and of the forces that affected women's lives in the nineteenth and twentieth centuries.
Published in collaboration among the University of Wisconsin Press, the Center for the History of Print Culture in Modern America (a joint program of the University of Wisconsin–Madison and the Wisconsin Historical Society), and the University of Wisconsin–Madison General Library System Office of Scholarly Communication.
To illustrate the problem, Ebaugh takes us into a declining order, here named the Sisters of Service. In 1990, only one candidate sought admission to the order, and the median age of members reached 70. While these demographic changes were occurring, the sisters adapted themselves to the reforms of Vatican II. The concept of a cloistered life faded. Nuns sought college degrees, gave up their habits, moved into apartments, and began to identify with the outside world. Vatican II further encouraged the nuns to democratize and decentralize. Many nuns accepted jobs that paid poorly but were consistent with their goal of social service. They identified with the feminist movement and in turn influenced it.
Ebaugh shows how declining orders have not followed the sociological model of organizational decline, one typically marked by centralized authority, a fear of risk taking, lack of direction, internal conflicts over turf, and low morale. Rather, they have established democratic structures, reduced internal positions in favor of committing resources to empowering the poor, abandoned security in favor of diversity in jobs and missions, minimized conflicts over scarce resources, and exhibited a sense of freedom rather than poor morale.
Although Ebaugh is convinced that Catholic orders in the U.S. will not continue for long, non-canonical communities of women and associate programs are growing. Dedicated women can perpetuate the mission and spirit of the order without becoming vowed members.
.
Michelle Tusan tells two stories. First, she examines alternative print-based political cultures that women developed during the late nineteenth and early twentieth centuries. Second, she explores how British female subjects forged a wide range of new political identities through the pages of "their press." Tusan employs social and cultural historical analysis in the reading of popular printed texts, as well as rare and previously unpublished personal correspondence and business records from archives throughout Britain.
Insightful and filled with fascinating detail, Women Making News uncovers how the relationship between print culture and gender politics provided a vehicle for women's mobilization in the political culture of modern Britain.
Drawing on fieldwork and music study carried out between 2001 and 2014, Merchant challenges the Western idea of Central Asian women as sequestered and oppressed. Instead, she notes, Uzbekistan's women stand at the forefront of four prominent genres: maqom, folk music, Western art music, and popular music. Merchant's recounting of the women's experiences, stories, and memories underscores the complex role that these musicians and vocalists play in educational institutions and concert halls, street kiosks and the culturally essential sphere of wedding music. Throughout the book, Merchant ties nationalism and femininity to performances and reveals how the music of these women is linked to a burgeoning national identity.
Important and revelatory, Women Musicians of Uzbekistan looks into music's part in constructing gendered national identity and the complicated role of femininity in a former Soviet republic's national project.
Interest in the mother-daughter relationship has never been greater, yet there are few books specifically devoted to the relationships between daughters and mothers of color. To fill that gap, this collection of original essays explores the mother-daughter relationship as it appears in the works of African, African American, Asian American, Mexican American, Native American, Indian, and Australian Aboriginal women writers.
Prominent among the writers considered here are Toni Morrison, Alice Walker, Maxine Hong Kingston, Cherrie Moraga, Leslie Marmon Silko, and Amy Tan. Elizabeth Brown-Guillory and the other essayists examine the myths and reality surrounding the mother-daughter relationship in these writers' works. They show how women writers of color often portray the mother-daughter dyad as a love/hate relationship, in which the mother painstakingly tries to convey knowledge of how to survive in a racist, sexist, and classist world while the daughter rejects her mother's experiences as invalid in changing social times.
This book represents a further opening of the literary canon to twentieth-century women of color. Like the writings it surveys, it celebrates the joys of breaking silence and moving toward reconciliation and growth.
In this fascinating work, Cheryl Black reveals that, in addition to its role in developing an American tradition of non-commercial theatre, Provincetown has another, largely unacknowledged claim to fame as one of the first theatre companies in America in which women achieved prominence in every area of operation. At a time when women playwrights were rare, women directors rarer, and women scenic designers unheard of, Provincetown’s female members excelled in all of these roles.
In addition to the well-known playwright Susan Gaspell, the company’s female membership included luminaries such poets Edna St. Vincent Millay, Mina Loy, and Djuna Barnes; journalists Louise Bryant and Mary Heaton Vorce; novelists Neith Boyce and Evelyn Scott; and painter Marguerite Zorach. Illuminating a fascinating chapter in the history of one of the world's most picturesque and beloved artist colonies, The Women of Provincetown is an engaging work of social history, offering new insights into the relationship between gender and theatre. This work includes 40 images of the key artists in the book.
Unlike leftist antiwar movements, the mothers' movement was not pacifist; its members opposed the war on Germany because they regarded Hitler as an ally against the spread of atheistic communism. They also differed from leftist women in their endorsement of patriarchy and nationalism. God, they believed, wanted them to fight the New Deal liberalism that imperiled their values and the internationalists, communists, and Jews, whom they saw as subjugating Christian America.
Jeansonne examines the motivations of these women, the political and social impact of their movement, and their collaborations with men of the far right and also with mainstream isolationists such as Charles Lindbergh. Drawing on files kept by the FBI and other confidential documents, this book sheds light on the history of the war era and on women's place within the far right.
Now available in a durable paperback edition, Shari Benstock's critically acclaimed, best-selling Women of the Left Bank is a fascinating exploration of the lives and works of some two dozen American, English, and French women whose talent shaped the Paris expatriate experience in the century's early years.
This ambitious historical, biographical, and critical study has taken its place among the foremost works of literary criticism. Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."
Prevailing accounts of the fate of women's movements in that decade ascribe their hardships to a postfeminist ideology or the result of a "backlash" against women, particularly in America. Sylvia Bashevkin's study excavates, however, a much more complex situation. By identifying the policies and goals held in common by feminists in all three countries and tracing their collision course with the conservative policies of the three administrations, she is able to document setbacks but also some progress, despite the right-of-center leaders. She also challenges the assumption that organized interests in the United States are less vulnerable in hard times than those in parliamentary systems, finding that the elections of Ronald Reagan, Brian Mulroney, and Margaret Thatcher had similar effects on both sides of the Atlantic. Her comparative analysis reveals that the policies of current leaders, while marginally better than their predecessors, will not allow women and women's movements to regain lost ground.
Organized thematically, rather than by country, Women on the Defensive describes the difficult relationship between feminists and conservatives during a time of bitter ideological and policy battles when the vibrant social movements of the 1960s and 1970s were seriously threatened.
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.
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.
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.
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
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
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 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.
In search of the origins of some of the most fundamental problems that have beset philosophers in English-speaking countries in the past century, Claire Ortiz Hill maintains that philosophers are treating symptoms of ills whose causes lie buried in history. Substantial linguistic hurdles have blocked access to Gottlob Frege's thought and even to Bertrand Russell's work to remedy the problems he found in it. Misleading translations of key concepts like intention, content, presentation, idea, meaning, concept, etc., severed analytic philosophy from its roots.
Hill argues that once linguistic and historical barriers are removed, Edmund Husserl's critical study of Frege's logic in his 1891 Philosophy of Arithmetic provides important insights into issues in philosophy now.
She supports her conclusions with analyses of Frege's, Husserl's, and Russell's works, including Principia Mathematica, and with linguistic analyses of the principal concepts of analytic philosophy. She re-establishes links that existed between English and Continental thought to show Husserl's expertise as a philosopher of mathematics and logic who had been Weierstrass's assistant and had long maintained ties with Cantor, Hilbert, and Zermelo.
One of the cruelest abuses of slavery in America was that slaves were forbidden to read and write. Consigned to illiteracy, they left no records of their thoughts and feelings apart from the few exceptional narratives of Frederick Douglass and others who escaped to the North—or so we have long believed. But as Christopher Hager reveals, a few enslaved African Americans managed to become literate in spite of all prohibitions, and during the halting years of emancipation thousands more seized the chance to learn. The letters and diaries of these novice writers, unpolished and hesitant yet rich with voice, show ordinary black men and women across the South using pen and paper to make sense of their experiences.
Through an unprecedented gathering of these forgotten writings—from letters by individuals sold away from their families, to petitions from freedmen in the army to their new leaders, to a New Orleans man’s transcription of the Constitution—Word by Word rewrites the history of emancipation. The idiosyncrasies of these untutored authors, Hager argues, reveal the enormous difficulty of straddling the border between slave and free.
These unusual texts, composed by people with a unique perspective on the written word, force us to rethink the relationship between literacy and freedom. For African Americans at the end of slavery, learning to write could be liberating and empowering, but putting their hard-won skill to use often proved arduous and daunting—a portent of the tenuousness of the freedom to come.
Word Play traces the history of the relationship between experimental aesthetics and Soviet children’s books, a relationship that persisted over the seventy years of the Soviet Union’s existence. From the earliest days of the Soviet project, children’s literature was taken unusually seriously—its quality and subject matter were issues of grave political significance. Yet, it was often written and illustrated by experimental writers and artists who found the childlike aesthetic congenial to their experiments in primitivism, minimalism, and other avant‑garde trends. In the more repressive environment following Stalin’s rise to power, experimental aesthetics were largely relegated to unofficial and underground literature, but unofficial writers continued to author children’s books, which were often more appealing than adult literature of the time.
Word Play focuses on poetry as the primary genre for both children’s and unofficial literature throughout the Soviet period. Five case studies feature poets‑cum‑children’s writers—Leonid Aronzon, Oleg Grigoriev, Igor Kholin, Vsevolod Nekrasov, and Dmitri Prigov—whose unpublished work was not written for children but features lexical and formal elements, abundant humor, and childlike lyric speakers that are aspects of the childlike aesthetic. The book concludes with an exploration of the legacy of this aesthetic in Russian poetry today. Drawing on rich primary sources, Word Play joins a growing literature on Russian children’s books, connecting them to avant-garde poetics in fresh, surprising ways.
In Word Warrior, award-winning radio producer Sonja D. Williams draws on archives and hard-to-access family records, as well as interviews with family and colleagues like Studs Terkel and Toni Morrison, to illuminate Durham's astounding career. Durham paved the way for black journalists as a dramatist and a star investigative reporter and editor for the pioneering black newspapers the Chicago Defender and Muhammed Speaks. Talented and versatile, he also created the acclaimed radio series Destination Freedom and Here Comes Tomorrow and wrote for popular radio fare like The Lone Ranger. Incredibly, his energies extended still further--to community and labor organizing, advising Chicago mayoral hopeful Harold Washington, and mentoring generations of activists.
Incisive and in-depth, Word Warrior tells the story of a tireless champion of African American freedom, equality, and justice during an epoch that forever changed a nation.
In January 1992, poet Neal Bowers received a phone call that changed his life. He learned his poems had been stolen and published under another name. Bowers hired a copyright lawyer and a private detective, and they began the agonizing hunt to track down the person who stole his creative work.
Bowers was dealing with more than the theft of words. He uncovered the plagiarist’s unsavory past when he found convicted child molester David Jones, who published the poems using the name David Sumner.
Determined to hold the plagiarist accountable, Bowers is drawn into a bizarre game of catch-me-if-you-can. His odyssey introduces him to the legal system and a sympathetic female detective, reveals the reactions of fellow poets, and provokes a flood of nationwide publicity and a deluge of letters from strangers interested in the case. Letters from Bowers’s attorney to Jones and phone conversations between the two produce unsatisfactory results. In the end, the plagiarist is not punished, and Bowers deals with the loss of friends, derision from his colleagues, and trouble in his marriage.
Words for the Taking: The Hunt for a Plagiarist, first published in 1997, is as much a commentary on our cultural view of plagiarism as it is a real-life detective story. Bowers’s wry and disturbing account of being the victim of a serial plagiarist offers unexpected twists and startling revelations. This updated edition presents a final consideration of the bizarre case and remains the only book to offer a personal account of the effects of plagiarism.
Ten years after the original publication, Neal Bowers finds his life as a writer altered in ways he could never have foreseen. His responses to the series of events show his vulnerability as an artist and his adjustment to being a victim. In a new chapter, Bowers describes his renewed quest in 2006 for a resolution and explains why he chose to give up writing poetry.
This beautifully written case study about the discovery and attempted resolution of an intellectual crime will appeal to academicians and general readers alike who care about language, the state of poetry, and intellectual property in contemporary America.
Some of the poems address crucial movement-related events—such as the integration of the Little Rock schools, the murders of Emmett Till and Medgar Evers, the emergence of the Black Panther party, and the race riots of the late 1960s—and key figures, including Martin Luther King Jr., Malcolm X, and John and Robert Kennedy. Other poems speak more broadly to the social and political climate of the times. Along with Jeffrey Lamar Coleman's headnotes, the poems recall the heartbreaking and jubilant moments of a tumultuous era. Altogether, more than 150 poems by approximately 100 poets showcase the breadth of the genre of civil rights poetry.
Selected contributors. Maya Angelou, W. H. Auden, Amiri Baraka, Gwendolyn Brooks, Lucille Clifton Lawrence Ferlinghetti, Allen Ginsberg, Langston Hughes, June Jordan, Philip Levine, Audre Lorde, Robert Lowell, Pauli Murray, Huey P. Newton, Adrienne Rich, Sonia Sanchez, Léopold Sédar Senghor, Derek Walcott, Alice Walker, Yevgeny Yevtushenko
Between these are discussions of books by and about founding modernists (Pound, Moore, Sitwell, Frost, Graves, Auden) who do not “succumb to the imitative fallacy and gibber at the window because the house is on fire.” Hoffman’s historical imagination elucidates the work of many other contemporary American and British poets, including his own. Words to Create a World will appeal to the reader who enjoys poetry and who hopes for guidance over the sprawling terrain of verse in the twentieth century.
As the American South changed around them, becoming more urban and industrialized, some women struggled to help their families survive in the increasingly large-scale and commercial agricultural economy, while other women eagerly seized opportunities to engage in rural reform, get better educations, and work at off-farm jobs. Whether they moved to the cities or stayed on the farms, most of these women continued to struggle against poverty and relied on tradition and inner strength to get by.
This well-researched, sharply focused, and keenly insightful collection of essays takes readers across the twentieth-century South, from rural roadside stands to tobacco fields to Sloss-Sheffield Steel’s “Sloss Quarters” in Birmingham. Covering the full scope of southern rural women’s varied lives, this book will be of particular value to anyone interested in sociology, women’s studies, or southern history.
Some players used the steel mill and shipyard leagues to avoid wartime military duty, irking Major League owners, who saw their rosters dwindling. Bethlehem Steel President Charles Schwab (no relation to the financier) saw the league as a means to stave off employee and union organizing. Most fans loudly criticized the ballplayers, but nevertheless showed up to watch the action on the diamond.
Ecenbarger traces the 1918 Steel League’s season and compares the fates of the players who defected to industry or continued to play stateside with the travails of the Major Leaguers, such as Christy Mathewson, Ty Cobb, and Grover Cleveland Alexander, who served during the war.
Work, Fight, or Play Ball reveals the home field advantage brought on by the war, which allowed companies to profit from Major League players.
Walter Benjamin’s famous “Work of Art” essay sets out his boldest thoughts—on media and on culture in general—in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.
This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin’s explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul.
This book contains the second, and most daring, of the four versions of the “Work of Art” essay—the one that addresses the utopian developments of the modern media. The collection tracks Benjamin’s observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin’s best-known work alongside fascinating, little-known essays—some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin’s media theory can be fully appreciated.
Thirty years after the greatest legislative triumphs of the civil rights movement, overcoming racism remains what Martin Luther King, Jr., once called America’s unfinished “work of democracy.” Why this remains true is the subject of Ben Keppel’s The Work of Democracy. By carefully tracing the public lives of Ralph Bunche, Kenneth B. Clark, and Lorraine Hansberry, Keppel illuminates how the mainstream media selectively appropriated the most challenging themes, ideas, and goals of the struggle for racial equality so that difficult questions about the relationship between racism and American democracy could be softened, if not entirely evaded.
Keppel traces the circumstances and cultural politics that transformed each individual into a participant-symbol of the postwar struggle for equality. Here we see how United Nations ambassador Ralph Bunche, the first African American to receive the Nobel Peace Prize, came to symbolize the American Dream while Bunche’s opposition to McCarthyism was ignored. The emergence of psychologist and educator Kenneth B. Clark marked the ascendancy of the child and the public school as the leading symbols of the civil rights movement. Yet Keppel details how Clark’s blueprint for “community action” was thwarted by machine politics. Finally, the author chronicles the process by which the “American Negro” became an “African American” by considering the career of playwright Lorraine Hansberry. Keppel reveals how both the journalistic and the academic establishment rewrote the theme of her prizewinning play A Raisin in the Sun to conform to certain well-worn cultural conventions and the steps Hansberry took to reclaim the message of her classic.
The Work of Democracy uses biography in innovative ways to reflect on how certain underlying cultural assumptions and values of American culture simultaneously advanced and undermined the postwar struggle for racial equality.
Beginning with Anagarika Dharmapala's "rationalization" of Buddhism in the early twentieth century, which called for monks to take on a more activist role in the community, Seneviratne shows how the monks have gradually revised their role to include involvement in political and economic spheres. The altruistic, morally pure monks of Dharamapala's dreams have become, Seneviratne trenchantly argues, self-centered and arrogant, concealing self-aggrandizement behind a façade of "social service."
A compelling call for reform and a forceful analysis, The Work of Kings is essential to anthropologists, historians of religion, and those interested in colonialism, nationalism, and postcolonial politics.
Revision might seem to be an intrinsic part of good writing. But Hannah Sullivan argues that we inherit our faith in the virtues of redrafting from early-twentieth-century modernism. Closely examining changes made in manuscripts, typescripts, and proofs by T. S. Eliot, Ezra Pound, Ernest Hemingway, James Joyce, Virginia Woolf, and others, she shows how modernist approaches to rewriting shaped literary style, and how the impulse to touch up, alter, and correct can sometimes go too far.
In the nineteenth century, revision was thought to mar a composition’s originality—a prejudice cultivated especially by the Romantics, who believed writing should be spontaneous and organic, and that rewriting indicated a failure of inspiration. Rejecting such views, avant-garde writers of the twentieth century devoted themselves to laborious acts of rewriting, both before and after publishing their work. The great pains undertaken in revision became a badge of honor for writers anxious to justify the value and difficulty of their work. In turn, many of the distinctive effects of modernist style—ellipsis, fragmentation, parataxis—were produced by zealous, experimental acts of excision and addition.
The early twentieth century also saw the advent of the typewriter. It proved the ideal tool for extensive, multi-stage revisions—superior even to the word processor in fostering self-scrutiny and rereading across multiple drafts. Tracing how master stylists from Henry James to Allen Ginsberg have approached their craft, The Work of Revision reveals how techniques developed in the service of avant-garde experiment have become compositional orthodoxy.
By focusing on organized labor, and its powerful role in effecting institutional change, Workers and Welfare chronicles the development and evolution of Mexican social insurance institutions in the twentieth century. Beginning with the antecedents of social insurance and the adoption of pension programs for central government workers in 1925, Dion's analysis shows how the labor movement, up until the 1990s, was instrumental in expanding welfare programs, but has since become largely ineffective. Despite stepped-up efforts, labor has seen the retrenchment of many benefits. Meanwhile, Dion cites the debt crisis, neoliberal reform, and resulting changes in the labor market as all contributing to a rise in poverty. Today, Mexican welfare programs emphasize poverty alleviation, in a marked shift away from social insurance benefits for the working class.
In The Workers’ State, Mark Pittaway presents a groundbreaking study of the complexities of the Hungarian working class, its relationship to the Communist Party, and its major political role during the foundational period of socialism (1944–1958). Through case studies of three industrial centers—Újpest, Tatabánya, and Zala County—Pittaway analyzes the dynamics of gender, class, generation, skill level, and rural versus urban location, to reveal the embedded hierarchies within Hungarian labor. He further demonstrates how industries themselves, from oil and mining to armaments and textiles, possessed their own unique labor subcultures.
From the outset, the socialist state won favor with many workers, as they had grown weary of the disparity and oppression of class systems under fascism. By the early 1950s, however, a gap between the aspirations of labor and the goals of the state began to widen. In the Stalinist drive toward industrialization, stepped up production measures, shortages of goods and housing, wage and benefit cuts, and suppression became widespread.
Many histories of this period have focused on Communist terror tactics and the brutal suppression of a pliant population. In contrast, Pittaway’s social chronicle sheds new light on working-class structures and the determination of labor to pursue its own interests and affect change in the face of oppression. It also offers new understandings of the role of labor and the importance of local histories in Eastern Europe under communism.
Can the welfare system in the United States accord people dignity? That question is often left out of the current debates over welfare and workfare. In this provocative book, Nancy Rose argues that the United States has been successful in the past––notably during the New Deal and in the 1970s––at shaping programs that gave people “fair work.”
However, as Rose documents, those innovative job creation programs were voluntary and were mainly directed at putting men back to work. Women on welfare, and especially women of color, continue to be forced into a very different kind of program: mandatory, punitive, and demeaning. Such workfare programs are set up for failure. They rarely train women for jobs with futures, they ignore the needs of the women’s families, and they do not pay an honest wage. They perpetuate poverty rather than prevent it.
Rose uses the history of U.S. job creation programs to show alternatives to mandatory workfare. Any effort to redesign welfare in America needs to pay close attention to the lessons drawn from this perceptive analysis of the history of women, welfare, and work. This is an indispensable book for students, scholars, policymakers, politicians, and activists––for everyone who knows the system is broken and wants to fix it.
anthology of poems captures the drama of work and working-class life in
industrial America. It speaks of rolling mills, mine shafts, and foundries,
and of a people who dig coal, tap blast furnaces, sew shirts, clean fish,
and assemble cars. These subjects, though largely absent from literary
anthologies and textbooks, are increasingly evident in the work of contemporary
poets. Working Classics gathers the best and most representative
of these poems, American and Canadian, from 1945 to the present.
Included are poems by Antler, Robert Bly, Lorna Dee Cervantes, Jim Daniels,
Patricia Dobler, Stephen Dunn, Tess Gallagher, Edward Hirsch, David Ignatow,
June Jordan, Lawrence Joseph, Philip Levine, Chris Llewellyn, Joyce Carol
Oates, Anthony Petrosky, Michael Ryan, Gary Soto, Tom Wayman, James Wright,
and many others. The result is a diverse and evocative collection of 169
poems by 74 poets, nearly a third of them women.
A longtime agitator against war and social injustice, Lawrence Wittner has been tear-gassed, threatened by police with drawn guns, charged by soldiers with fixed bayonets, spied upon by the U.S. government, arrested, and purged from his job for political -reasons. To say that this teacher-historian-activist has led an interesting life is a considerable understatement.
In this absorbing memoir, Wittner traces the dramatic course of a life and career that took him from a Brooklyn boyhood in the 1940s and ’50s to an education at Columbia University and the University of Wisconsin to the front lines of peace activism, the fight for racial equality, and the struggles of the labor movement. He details his family background, which included the bloody anti-Semitic pogroms of late-nineteenth-century Eastern Europe, and chronicles his long teaching career, which comprised positions at a small black college in Virginia, an elite women’s liberal arts college north of New York City, and finally a permanent home at the Albany campus of the State University of New York. Throughout, he packs the narrative with colorful vignettes describing such activities as fighting racism in Louisiana and Mississippi during the early 1960s, collaborating with peace-oriented intellectuals in Gorbachev’s Soviet Union, and leading thousands of antinuclear demonstrators through the streets of Hiroshima. As the book also reveals, Wittner’s work as an activist was matched by scholarly achievements that made him one of the world’s foremost authorities on the history of the peace and nuclear disarmament movements—a research specialty that led to revealing encounters with such diverse figures as Norman Thomas, the Unabomber, Zbigniew Brzezinski, Caspar Weinberger, and David Horowitz.
A tenured professor and renowned author who has nevertheless lived in tension with the broader currents of his society, Lawrence Wittner tells an engaging personal story that includes some of the most turbulent and significant events of recent history.
Lawrence S. Wittner, emeritus professor of history at the University at Albany, SUNY, is the author of numerous scholarly works, including the award-winning three-volume Struggle Against the Bomb. Among other awards and honors, he has received major grants or fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, the Aspen Institute, the United States Institute of Peace, and the John D. and Catherine T. MacArthur Foundation.
The Mississippi River occupies a sacred place in American culture and mythology. Often called The Father of Rivers, it winds through American life in equal measure as a symbol and as a topographic feature. To the people who know it best, the river is life and a livelihood. River boatmen working the wide Mississippi are never far from land. Even in the dark, they can smell plants and animals and hear people on the banks and wharves.
Bonnie Stepenoff takes readers on a cruise through history, showing how workers from St. Louis to Memphis changed the river and were in turn changed by it. Each chapter of this fast-moving narrative focuses on representative workers: captains and pilots, gamblers and musicians, cooks and craftsmen. Readers will find workers who are themselves part of the country’s mythology from Mark Twain and anti-slavery crusader William Wells Brown to musicians Fate Marable and Louis Armstrong.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press