In Adoption Fantasies, Kimberly D. McKee explores the ways adopted Asian women and girls are situated at a nexus of objectifications—as adoptees and as Asian American women—and how they negotiate competing expectations based on sensationalist and fictional portrayals of adoption found in US popular culture. McKee traces the life cycle of the adopted Asian woman, from the rendering of infant adoptee bodies in the white US imaginary, to Asian American fantasies of adoption, to encounters with the hypersexualization of Asian and Asian American women and girls in US popular culture. Drawing on adoption studies, Asian American studies, critical ethnic studies, gender studies, and cultural studies, McKee analyzes the mechanisms informing adoptees’ interactions with consumers of this media—adoptive parents and families and strangers alike—and how those exchanges and that media influence adoptees’ negotiations with the world. From Modern Family to Sex and the City to the notoriety surrounding Soon-Yi Previn and Woody Allen, among many other instances, McKee scrutinizes the fetishization and commodification of women and girls adopted from Asia to understand their racialized experiences.

Working girls' clubs were a flash-point for class antagonisms yet also provided fertile ground for surprising cross-class alliances. Priscilla Murolo's nuanced study charts the shifting points of conflict and consensus between working women and their genteel club sponsors; working women and their male counterparts; and among working women of differing ethnic backgrounds. 

The working girls' club movement lasted from the 1880s, when women poured into the industrial labor force, to the 1920s. Upper-class women initially governed the clubs, and activities converged around standards of "respectability" and the defense and uplift of the character of women who worked for wages. Later, the workers themselves presided over the leadership and shifted the clubs' focus to issues of labor reform, women's rights, and sisterhood across class lines. 

A valuable and lucid study of the club movement, The Common Ground of Womanhood throws new light on broader trends in the history of women's alliances, social reform, gender conventions, and worker organizing.

Cultural views of femininity exerted a powerful influence on the courtroom arguments used to defend or condemn notable women on trial in nineteenth-century and early-twentieth-century America. By examining the colorful rhetorical strategies employed by lawyers and reporters of women's trials in newspaper articles, trial transcriptions, and popular accounts, A. Cheree Carlson argues that the men in charge of these communication avenues were able to transform their own values and morals into believable narratives that persuaded judges, juries, and the general public of a woman's guilt or innocence.

Carlson analyzes the situations of several women of varying historical stature, from the insanity trials of Mary Todd Lincoln and Lizzie Borden's trial for the brutal slaying of her father and stepmother, to lesser-known trials involving insanity, infidelity, murder, abortion, and interracial marriage. The insanity trial of Elizabeth Parsons Ware Packard, the wife of a minister, resulted from her attempts to change her own religion, while a jury acquitted Mary Harris for killing her married lover, suggesting that loss of virginity to an adulterous man was justifiable grounds for homicide. The popular conception of abortion as a "woman's crime" came to the fore in the case of Ann Loman (also known as Madame Restell), who performed abortions in New York both before and after it became a crime. Finally, Alice Rhinelander was sued for fraud by her new husband Leonard for "passing" as white, but the jury was more moved by the notion of Alice being betrayed as a woman by her litigious husband than by the supposed defrauding of Leonard as a white male. Alice won the case, but the image of womanhood as in need of sympathy and protection won out as well.

At the heart of these cases, Carlson reveals clearly just how narrow was the line that women had to walk, since the same womanly virtues that were expected of them--passivity, frailty, and purity--could be turned against them at any time. These trials of popular status are especially significant because they reflect the attitudes of the broad audience, indicate which forms of knowledge are easily manipulated, and allow us to analyze how the verdict is argued outside the courtroom in the public and press. With gripping retellings and incisive analysis of these scandalous criminal and civil cases, this book will appeal to historians, rhetoricians, feminist researchers, and anyone who enjoys courtroom drama.

In The Dancer’s Voice Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family’s heirlooms, photographs, and memories, Putcha reveals how women’s citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer’s voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation.

German film-goers flocked to see musicals and melodramas during the Nazi era. Although the Nazis seemed to require that every aspect of ordinary life advance the fascist project, even the most popular films depicted characters and desires that deviated from the politically correct ideal. Probing into the contradictory images of womanhood that surfaced in these films, Antje Ascheid shows how Nazi heroines negotiated the gender conflicts that confronted contemporary women.The careers of Kristina Soderbaum, Lilian Harvey, and Zarah Leander speak to the Nazis' need to address and contain the "woman question," to redirect female subjectivity and desires to self sacrifice for the common good (i.e., national socialism). Hollywood's new women and glamorous dames were out; the German wife and mother were in. The roles and star personas assigned to these actresses, though intended to entertain the public in a politically conformist way, point to the difficulty of yoking popular culture to ideology.

One scarcely knows whether to laugh or cry. The spectacle presented, in Cynthia Russett's splendid book, of nineteenth-century white male scientists and thinkers earnestly trying to prove women inferior to men--thereby providing, along with "savages" and "idiots," an evolutionary buffer between men and animals--is by turns appalling, amusing, and saddening. Surveying the work of real scientists as well as the products of more dubious minds, Russett has produced a learned yet immensely enjoyable chapter in the annals of human folly.

At the turn of the century science was successfully challenging the social authority of religion; scientists wielded a power no other group commanded. Unfortunately, as Russett demonstrates, in Victorian sexual science, empiricism tangled with prior belief, and scientists' delineation of the mental and physical differences between men and women was directed to show how and why women were inferior to men. These men were not necessarily misogynists. This was an unsettling time, when the social order was threatened by wars, fierce economic competition, racial and industrial conflict, and the failure of society to ameliorate poverty, vice, crime, illnesses. Just when men needed the psychic lift an adoring dependent woman could give, she was demanding the vote, higher education, and the opportunity to become a wage earner!

No other work has treated this provocative topic so completely, nor have the various scientific theories used to marshal evidence of women's inferiority been so thoroughly delineated and debunked. Erudite enough for scholars in the history of science, intellectual history, and the history of women, this book with its stylish presentation will also attract a large nonspecialist audience.

Winner, 2022 Charles Hatfield Award from the Comics Studies Society

In the years following 1975, a group of female-created comic strips came to national attention in a traditionally male-dominated medium. Typical Girls: The Rhetoric of Womanhood in Comic Strips uncovers the understudied and developing history of these strips, defining and exploring the ramifications of this expression of women’s roles at a time of great change in history and in comic art. This impressive, engaging, and timely study illustrates how these comics express the complexities of women’s experiences, especially as such experiences were shaped by shifting and often competing notions of womanhood and feminism. Including the comics of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls is an important history of the representation of womanhood and women’s rights in popular comic strips.