It was like a remake of The Cowboy and the Lady, except that this time they weren't friends. The 1990 Texas governor's race pitted Republican Clayton Williams, a politically conservative rancher and oil millionaire, against Democrat Ann Richards, an experienced progressive politician noted for her toughness and quick wit. Their differences offered voters a choice not only of policies and programs but also of stereotypes and myths of men's and women's proper roles.
Claytie and the Lady is the first in-depth look at how gender affected the 1990 governor's race. The authors' analysis reveals that Ann Richards' victory was a result of a unique combination of characteristics. She was simultaneously tough enough to convince voters that she could lead and feminine enough to put them at ease. At the same time, she remained committed to the progressive and women's issues that had won her the early support of feminists and progressives. The authors also show how Clayton Williams' appeal to the Texas cowboy myth backfired when he broke the cowboy code of chivalry to women.
The authors set their discussion within the historical context of twentieth-century Texas politics and the theoretical context of gender politics in order to pose a number of thought-provoking questions about the effects of women's participation in political life. Interviews with key players in the 1990 election, including Governor Ann Richards, add a lively and insightful counterpoint to the text.
The 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.
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.
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