That these poems deal immediately with the very popular 'goddess literature' and with an individual woman in a most important historical situation should give this work widespread appeal.-John Maier, SUNY College at Brockport, cotranslator of the Epic of GilgameshThe earliest known author of written literature was a woman named Enheduanna, who lived in ancient Mesopotamia around 2300 BCE. High Priestess to the moon god Nanna, Enheduanna came to venerate the goddess Inanna above all gods in the Sumerian pantheon. The hymns she wrote to Inanna constitute the earliest written portrayal of an ancient goddess. In their celebration of Enheduanna's relationship with Inanna, they also represent the first existing account of an individual's consciousness of her inner life. This book provides the complete texts of Enheduanna's hymns to Inanna, skillfully and beautifully rendered by Betty De Shong Meador, who also discusses how the poems reflect Enheduanna's own spiritual and psychological liberation from being an obedient daughter in the shadow of her ruler father. Meador frames the poems with background information on the religious and cultural systems of ancient Mesopotamia and the known facts of Enheduanna's life. With this information, she explores the role of Inanna as the archetypal feminine, the first goddess who encompasses both the celestial and the earthly and shows forth the full scope of women's potential.

This ambitious study sets out to discover what marriage meant in the daily lives of the nobles of the tenth, eleventh, and twelfth centuries. Through entertaining anecdotes, family dramas, and striking quotations, Duby succeeds in bringing his subjects to life, making us feel as if we understand the motives and conflicts of those who inhabited the distant past.

"It is typical of Duby's modest spirit and his book-long concern with the ancient status of beleaguered wives that he ends his study with a plea: 'We must not forget the women. Much has already been said about them. But how much do we really know?' Not everything, certainly, but far more than we did before the author began these charmingly erudite investigations."—Ken Turan, Time

"It is refreshing to find a historian who is always conscious that we simply do not know what or how people thought 1000 years ago. . . . Duby explains the complicated machinations of the medieval churchman and the paterfamilias in a scholarly but lively style."—Sarah Lawson, New Statesman

"Duby has written an extraordinarily rich book—a panoramic view of medieval marriage and the relations between men and women, full of arresting insights and human detail. . . . It is the work of a master historian at the peak of his powers on a subject of central relevance, compulsive and essential reading."—P. Stafford, British History

Georges Duby (1919-1996) was a member of the Académie française and for many years held the distinguished chair in medieval history at the Collège de France. His books include The Three Orders; The Age of Cathedrals; The Knight, the Lady, and the Priest; Love and Marriage in the Middle Ages; and History Continues, all published by the University of Chicago Press.

Penny Schine Gold provides a bold analysis of key literary and artistic images of women in the Middle Ages and the relationship between these images and the actual experience of women. She argues that the complex interactions between men and women as expressed in both image and experience reflect a common pattern of ambivalence and contradiction. Thus, women are seen as both helpful and harmful, powerful and submissive, and the actuality of women's experience encompasses women in control and controlled, autonomous and dependent.

Vividly recreating the rich texture of medieval life, Gold effectively and eloquently goes beyond a simple equation of social context and representation. In the process. she challenges equally simple judgments of historical periods as being either "good" or "bad" for women.

"[The Lady and the Virgin] presents its findings in a form that should attract students as well as their instructors. The careful and controlled use of so many different kinds of sources . . . offers us a valuable medieval case study in the inner-relationship between the segments of society and its ethos or value system."—Joel T. Rosenthal, The History Teacher

"Something of a tour de force in an interdisciplinary approach to history."—Jo Ann McNamara, Speculum

"[A] well-written, extremely well-researched book. . . . The Lady and the Virgin is useful, readable, and well informed."—R. Howard Bloch, Modern Philology

Lady in Ermine: The Story of a Woman Who Painted the Renaissance reveals the discovery of an historic figure who embodies the struggle of women throughout the ages while immersing the reader in the sixteenth century world of the Renaissance figures she paints.

As a girl in Lombardy, Sofonisba Anguissola trains to paint with mannerist masters, and though society frowns upon women having such ambition, Sofonisba’s father unwaveringly encourages her. A royal tour by Prince Philip of Spain inspires her lifelong dream: to perfect the king’s portrait and show his truth on canvas, the highest calling for a Renaissance portraitist. Her drive to vindicate her loving father, a bastard of nobility, propels her. Politics of the Spanish empire brings Sofonisba to the heart of the royal court in Madrid. She aspires to achieve her goal while others at court work to undermine her as a female artist. Tragedy unfolds in the royal household, but in the process, Sofonisba finds her opportunity to paint the King of Spain, honoring her family name with her success. In life after court, Sofonisba navigates two marriages, royal appointments, love, hardship, and bankruptcy, while leaving a legacy of hundreds of paintings and influencing generations of artists from Anthony van Dyck to Peter Paul Rubens. This is her story.

When the first company of Mormon settlers arrived in the Great Salt Lake Valley in July 1847, it was immediately apparent that thier survival depended upon what resources they found in the mountains surrounding them. The Great Basin soil was baked hard by the sun and yielded to the plow with great difficulty. And as pioneer William Clayton noted, surveying the valley floor, "Timber is evidently lacking." But within a week of arrival, a small dam had been constructed to channel irrigation water to crops, parties had been dispatched to explore the nearby canyons for trees suitable for lumber, and names had been attached to several dozen features of the landscape including peaks, creeks, and canyons.

These place names, as well as the physcial traces and artifacts that persist in three Wasatch canyons—Mill Creek, Big Cottonwood, and Little Cottonwood—tantalize with what they suggest, but do not tell, about the history of settlement and development in the canyons. Charles Keller has extracted a wealth of information to create The Lady in the Ore Bucket, a faxcinating history of the lumber, mining, and hydropower industries built from the rich natural resources of the canyons. With more than six dozen photographs and maps, the book is alive with details concerning the personalities, politics, pacts, and peregrinations of local leaders from white settlement in 1847 through the early 1900s. It will delight any reader with an interest in the magnificent canyones that open onto the modern Wasatch Front.  

In the first half of the twentieth century, the canyons and mesas of the Southwest beckoned and the burgeoning field of archaeology thrived. Among those who heeded the call, Marjorie Ferguson Lambert became one of only a handful of women who left their imprint on the study of southwestern archaeology and anthropology.

In this delightful biography, we gain insight into a time when there were few women establishing full-time careers in anthropology, archaeology, or museums. Shelby Tisdale successfully combines Lambert’s voice from extensive interviews with her own to take us on a thought-provoking journey into how Lambert created a successful and satisfying professional career and personal life in a place she loved (the American Southwest) while doing what she loved.

Through Lambert’s life story we gain new insight into the intricacies and politics involved in the development of archaeology and museums in New Mexico and the greater Southwest. We also learn about the obstacles that young women had to maneuver around in the early years of the development of southwestern archaeology as a profession. Tisdale brings into focus one of the long-neglected voices of women in the intellectual history of anthropology and archaeology and highlights how gender roles played out in the past in determining the career paths of young women. She also highlights what has changed and what has not in the twenty-first century.

Women’s voices have long been absent throughout history, and Marjorie Lambert’s story adds to the growing literature on feminist archaeology.