Contributors. Catherine Clinton, Sara Evans, Elizabeth Fox-Genovese, Jacquelyn Dowd Hall, Jacqueline Jones, Suzanne D. Lebsock, Nell Irwin Painter, Theda Perdue, Anne Firor Scott, Deborah Gray White
Half-Life of a Zealot tells how the girl who spoke against “Reds” alongside her father became a fierce advocate for progressive change in America and abroad, an innovative philanthropist, and Bill Clinton’s Ambassador to Austria. In captivating prose, Hunt describes the warmth and wear of Southern Baptist culture, which instilled in her a calling to help those who are vulnerable. The reader is drawn into her full-throttle professional life as it competes with critical family needs.
Hunt gives a remarkably frank account of her triumphs and shortcomings; her sorrows, including a miscarriage and the failure of a marriage; the joys and struggles of her second marriage; and her angst over the life-threatening illness of one of her three children. She is candid about the opportunities her fortune has created, as well as the challenge of life as an heiress.
Much of Swanee Hunt’s professional life is devoted to expanding women’s roles in making and shaping public policy. She is the founding director of Harvard’s Women and Public Policy Program at the Kennedy School of Government, chair of the Initiative for Inclusive Security, and president of the Hunt Alternatives Fund.
Swanee Hunt’s autobiography brims over with strong women: her mother, whose religious faith and optimism were an inspiration; her daughter, who fights the social stigma of mental disorders; the women of war-torn Bosnia, who transformed their grief into action; and friends like Hillary Clinton, who used her position as First Lady to strengthen the voices of others.
Hunt is one more strong woman. Half-Life of a Zealot is her story—so far.
Hannah Arendt is one of the most famous political theorists of the twentieth century, yet in the social sciences her work has rarely been given the attention it deserves. This careful and comprehensive study introduces Arendt to a wider audience.
Finn Bowring shows how Arendt's writings have engaged with and influenced prominent figures in the sociological canon, and how her ideas may shed light on some of the most pressing social and political problems of today. He explores her critique of Marx, her relationship to Weber, the influence of her work on Habermas and the parallels and discrepancies between her and Foucault. This is a clearly written and scholarly text which surveys the leading debates over Arendt’s work, including discussions of totalitarianism, the public sphere and the nature of political responsibility.
This book will bring new perspectives to students and lecturers in sociology and politics.
African-American women fought for their freedom with courage and vigor during and after the Civil War. Leslie Schwalm explores the vital roles of enslaved and formerly enslaved women on the rice plantations of lowcountry South Carolina, both in antebellum plantation life and in the wartime collapse of slavery. From there, she chronicles their efforts as freedwomen to recover from the impact of the war while redefining their lives and labor.
Freedwomen asserted their own ideas of what freedom meant and insisted on important changes in the work they performed both for white employers and in their own homes. As Schwalm shows, these women rejected the most unpleasant or demeaning tasks, guarded the prerogatives they gained under the South's slave economy, and defended their hard-won freedoms against unwanted intervention by Northern whites and the efforts of former owners to restore slavery's social and economic relations during Reconstruction. A bold challenge to entrenched notions, A Hard Fight for We places African American women at the center of the South's transition from a slave society.
Over the years Missouri women have endured many hardships: Civil War troops in their homes, the harshness of westward travel, the loneliness of the Gold Rush, and slavery. They have also greatly influenced the state's history. Marie Watkins Oliver made the state flag; Margaret Nelson Stephens was a gifted politician; Carry A. Nation fought for prohibition; and Mary Ezit Bulkley was active in the woman suffrage movement.
Hardship and Hope brings to life these and other known and unknown Missouri women through their own writings in journals, letters, diaries, and memoirs. Most of these pieces have never been published or have long been out of print. Carla Waal and Barbara Oliver Korner have skillfully crafted this anthology to represent myriad Missouri women. There are pieces representing the experiences of Jewish, Irish, and German immigrants, African Americans, well-educated women, and deeply religious women. Preceding each entry is a useful introduction that provides history and background on the woman and her work.
Readers will meet women like Phoebe Wilson Couzins, who was the first woman law graduate in Missouri. She went on to work with Susan B. Anthony for the suffrage movement but died in poverty, physically handicapped and emotionally unstable. Emma J. Ray was born a slave just before the Civil War. She and her husband did missionary work in jails and on the streets of Kansas City. Other women represented are Laura Ingalls Wilder, Kate Chopin, Fannie Hurst, and Henriette Geisberg Bruns.
Hardship and Hope began as a series of performances around the state of Missouri through which the book's editors demonstrated the roles women played in that state's past. Because of the enthusiastic response to their performances, Waal and Korner continued searching for documents by Missouri women and now share their discoveries in book form. Covering a little more than a century, from just before Missouri's admission to the Union in 1821 to the ratification of the Nineteenth Amendment that gave women the right to vote in 1920, the excerpts here both captivate and inform.
This anthology will appeal to those interested in women's studies, Missouri and midwestern history, and oral interpretation.
THIS EDITION HAS BEEN REPLACED BY A NEWER 2004 EDITION.
With the publication of The Harvard Guide to Women's Health, women will have access to the combined expertise of physicians from three of the world's most prestigious medical institutions: Harvard Medical School, Massachusetts General Hospital, and Brigham and Women's Hospital. For complete information on women's health concerns, physical and psychological, this A to Z reference book will be the definitive resource.
Robyn R. Warhol’s goal is to investigate the effects of readers’ emotional responses to formulaic fiction of the nineteenth and twentieth centuries on gendered subjectivity. She argues that modern literary and cultural studies have ignored nonsexual affectivity in their inquiries. The book elaborates on Warhol’s theory of affect and then focuses on sentimental stories, marriage plots, serialized novels, and soap operas as distinct genres producing specific feelings among fans.
Popular narrative forms use formulas to bring up familiar patterns of feelings in the audiences who love them. This book looks at the patterns of feelings that some nineteenth- and twentieth-century popular genres evoke, and asks how those patterns are related to gender. Soap operas and sentimentalism are generally derided as “effeminate” forms because their emotional range is seen as hyperfeminine. Having a Good Cry presents a celebration of effeminate feelings and works toward promoting more flexible, less pejorative concepts of gender. Using a psychophysiological rather than a psychoanalytic approach to reading and emotion, Warhol seeks to make readers more conscious of what is happening to the gendered body when we read.
Renowned German social historian Heide Wunder refers to the cosmic image contained in the 1578 Book of Marital Discipline that characterizes the relationship between husband and wife. Today, "He is the sun, she is the moon" might be interpreted as a hierarchy of dominance and subordination. At the time it was used, however, sun and moon reflected the different but equal status of husband and wife.
Wunder shows how the history of women and the history of gender relations can provide crucial insights into how societies organize themselves and provide resources for political action. She observes actual circumstances as well as the normative rules that were supposed to guide women's lives. We learn what skills were necessary to take charge of households, what people ate, how they furnished their homes, what birth control measures were available, what role women played in peasant protest. Wunder finds that, in addition to the history of losses and setbacks for women observed by so many current interpreters, there is a history of gains as well. The regency of noble women was normal, as was the shared responsibility of wife and husband in a peasant household, an artisan's workshop, or a merchant's business.
Using sources as diverse as memoirs, wedding and funeral sermons, novels, and chronicles, and including a wealth of demographic information, Wunder reveals a surprising new image of early modern women and provides a richer interpretation of early modern Europe.
Trollope’s mother, wife, and a friend he loved platonically most of his life provided him three very different views of the Victorian woman. And, according to Jane Nardin, they were responsible for the dramatic shift in his treatment of women in his novels.
This is the first book in Sandra Gilbert’s Ad Feminam series to examine a male author. Nardin initially analyzes the novels Trollope wrote from 1855 to 1861, in which male concerns are central to the plot and women are angelic heroines, submissive and self-sacrificing. Even the titles of his novels written during this period are totally male oriented. The Three Clerks, Doctor Thorne, and The Bertrams all refer to men. Shortly after meeting Kate Field, Trollope wrote Orley Farm, which refers to the estate an angry woman steals from her husband and which marks a change in the attitudes toward women evident in his novels.
His next four books, The Small House at Allington, Rachel Ray, Can You Forgive Her?, and Miss Mackenzie, prove that women’s concerns had become central in his writing. Nardin examines specific novels written from 1861 to 1865 in which Trollope, with increasing vigor, subverts the conventional notions of gender that his earlier novels had endorsed.
Nardin argues that his novels written after 1865 and often recognized as feminist are not really departures but merely refinements of attitudes Trollope exhibited in earlier works.
The image of the female caregiver holding a midnight vigil at the bedside of a sick relative is so firmly rooted in our collective imagination we might assume that such caregiving would have attracted the scrutiny of numerous historians. As Emily Abel demonstrates in this groundbreaking study of caregiving in America across class and ethnic divides and over the course of ninety years, this has hardly been the case.
While caring for sick and disabled family members was commonplace for women in nineteenth- and early-twentieth-century America, that caregiving, the caregivers' experience of it, and the medical profession's reaction to it took diverse and sometimes unexpected forms. A complex series of historical changes, Abel shows, has profoundly altered the content and cultural meaning of care. Hearts of Wisdom is an immersion into that "world of care." Drawing on antebellum slave narratives, white farm women's diaries, and public health records, Abel puts together a multifaceted picture of what caregiving meant to American women--and what it cost them--from the pre-Civil War years to the brink of America's entry into the Second World War. She shows that caregiving offered women an arena in which experience could be parlayed into expertise, while at the same time the revolution in bacteriology and the transformation of the formal health care system were weakening women's claim to that expertise.
In 1918, the U.S. Army Signal Corps sent 223 women to France at General Pershing’s explicit request. They were masters of the latest technology: the telephone switchboard. While suffragettes picketed the White House and President Wilson struggled to persuade a segregationist Congress to give women of all races the vote, these courageous young women swore the army oath and settled into their new roles. Elizabeth Cobbs reveals the challenges they faced in a war zone where male soldiers wooed, mocked, and ultimately celebrated them.
The army discharged the last Hello Girls in 1920, the year Congress ratified the Nineteenth Amendment. When they sailed home, they were unexpectedly dismissed without veterans’ benefits and began a sixty-year battle that a handful of survivors carried to triumph in 1979.
“What an eye-opener! Cobbs unearths the original letters and diaries of these forgotten heroines and weaves them into a fascinating narrative with energy and zest.”
—Cokie Roberts, author of Capital Dames
“This engaging history crackles with admiration for the women who served in the U.S. Army Signal Corps during the First World War, becoming the country’s first female soldiers.”
—New Yorker
“Utterly delightful… Cobbs very adroitly weaves the story of the Signal Corps into that larger story of American women fighting for the right to vote, but it’s the warm, fascinating job she does bringing her cast…to life that gives this book its memorable charisma… This terrific book pays them a long-warranted tribute.”
—Christian Science Monitor
“Cobbs is particularly good at spotlighting how closely the service of military women like the Hello Girls was tied to the success of the suffrage movement.”
—NPR
This book is a study of the historical record of Muslim women’s property rights and equity. Based on Islamic court documents of fifteenth-century Granada—documents that show a high degree of women’s involvement—the book examines women’s legal entitlements to acquire property as well as the social and economic significance of these rights to Granada’s female population and, by extension, to women in other Islamic societies.
The microhistory of women’s property rights is placed in a comparative historical, social, and economic context and is examined using a theoretical framework that suggests how this book’s conclusions might coexist with the Islamic feminist discourse on the law as a patriarchal system, serving to highlight both the uniqueness and the limitations of the Islamic case. The specifics presented in the case studies reveal the broader structures, constructs, rules, conditions, factors, and paradigms that shaped women’s property rights under Islamic law. They show that women’s property rights were more than just part of a legal system; they were the product of a legal philosophy and a pervasive paradigm that made property ownership a normal construct of the Muslim woman’s legal persona and a norm of her existence.
First introduced in the pages of X-Men, Storm is probably the most recognized Black female superhero. She is also one of the most powerful characters in the Marvel Universe, with abilities that allow her to control the weather itself. Yet that power is almost always deployed in the service of White characters, and Storm is rarely treated as an authority figure.
Hero Me Not offers an in-depth look at this fascinating yet often frustrating character through all her manifestations in comics, animation, and films. Chesya Burke examines the coding of Storm as racially “exotic,” an African woman who nonetheless has bright white hair and blue eyes and was portrayed onscreen by biracial actresses Halle Berry and Alexandra Shipp. She shows how Storm, created by White writers and artists, was an amalgam of various Black stereotypes, from the Mammy and the Jezebel to the Magical Negro, resulting in a new stereotype she terms the Negro Spiritual Woman.
With chapters focusing on the history, transmedia representation, and racial politics of Storm, Burke offers a very personal account of what it means to be a Black female comics fan searching popular culture for positive images of powerful women who look like you.
Powerful and moving, Heroes of Their Own Lives offers an honest understanding of a persistent problem and a realistic view of the difficulties in stopping it.
Two early works by the consummate Latin love poet.
Ovid (Publius Ovidius Naso, 43 BC–AD 17), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his Ars amatoria, and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile.
Ovid's main surviving works are the Metamorphoses, a source of inspiration to artists and poets including Chaucer and Shakespeare; the Fasti, a poetic treatment of the Roman year of which Ovid finished only half; the Amores, love poems; the Ars amatoria, not moral but clever and in parts beautiful; Heroides, fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the Tristia, appeals to persons including his wife and also the emperor; and similar Epistulae ex Ponto. Poetry came naturally to Ovid, who at his best is lively, graphic and lucid.
The Loeb Classical Library edition of Ovid is in six volumes.
Tracing the Victorian crisis over the representation of working-class women to the 1842 Parliamentary bluebook on mines, with its controversial images of women at work, Hidden Hands argues that the female industrial worker became even more dangerous to represent than the prostitute or the male radical because she exposed crucial contradictions between the class and gender ideologies of the period and its economic realities.
Drawing on the recent work of feminist historians, Patricia Johnson lays the groundwork for a reinterpretation of Victorian social-problem fiction that highlights its treatment of issues that particularly affected working-class women: sexual harassment; the interconnections between domestic ideology and domestic violence; their relationships to male-dominated working-class movements such as Luddism, Chartism, and unionism; and their troubled connection to middle-class feminism.
Uncovering a series of images in Victorian fiction ranging from hot-tempered servants and sexually harassed factory girls to working-class homemakers pictured as beaten dogs, Hidden Hands demonstrates that representations of working-class women, however marginalized or incoherent, reveal the very contradictions they are constructed to hide and that the dynamics of these representations have broad implications both for other groups, such as middle-class women, and for the emergence of working-class women as writers themselves.
An international collection of ecumenical, gender-sensitive interpretations
The latest volume in the Bible and Women series examines the relationship between women and the Bible's reception in the centuries of the High and Late Middle Ages in Europe. Contributors bring a variety of new insights to questions of how women of the Bible were treated in literary, mystical, and doctrinal texts as well as in art and music. Though the Bible was used to legitimize the subordination of women to men and to exclude them from power, during this period women produced works of theology and biblical interpretation. Contributors include Gemma Avenoza, Marina Benedetti, Dinora Corsi, Maria Laura Giordano, Elisabeth Gössmann, Maria Leticia Sánchez Hernández, Hildegund Keul, Linda Maria Koldau, Martina Kreidler-Kos, Rita Librandi, Gary Macy, Constant J. Mews, Magda Motté, Rosa María Parrinello, María Isabel Toro Pascua, Claudia Poggi, Carmel Posa, Marina Santini, Valeria Ferrari Schiefer, Andrea Taschl-Erber, Adriana Valerio, and Paola Vitolo.
Features
Louise Thaden wrote High, Wide, and Frightened in the prime of her life, making this autobiography unique among books about the Golden Age of Aviation. Thaden, a contemporary of pioneering women pilots Amelia Earhart, Ruth Elder, Florence Klingensmith, and Ruth Nichols, was part of a small group of determined women who overcame discrimination and obstacles to become pilots in a time when air races and distance, altitude and endurance records were daily news in America. She became the first woman to win the Bendix Transcontinental Air Race, the premier air race of the day and, before her, a male-dominated one.
High, Wide, and Frightened is the story of Thaden’s life, of her achievements in aviation, and also of her childhood in Arkansas. She writes about her everyday personal life and her day-today experiences in aviation.
In The Highest Glass Ceiling, best-selling historian Ellen Fitzpatrick tells the story of three remarkable women who set their sights on the American presidency. Victoria Woodhull (1872), Margaret Chase Smith (1964), and Shirley Chisholm (1972) each challenged persistent barriers confronted by women presidential candidates. Their quest illuminates today’s political landscape, showing that Hillary Clinton’s 2016 campaign belongs to a much longer, arduous, and dramatic journey.
The tale begins during Reconstruction when the radical Woodhull became the first woman to seek the presidency. Although women could not yet vote, Woodhull boldly staked her claim to the White House, believing she might thereby advance women’s equality. Republican Senator Margaret Chase Smith came into political office through the “widow’s mandate.” Among the most admired women in public life when she launched her 1964 campaign, she soon confronted prejudice that she was too old (at 66) and too female to be a creditable presidential candidate. She nonetheless became the first woman to have her name placed in nomination for President by a major party. Democratic Congresswoman Shirley Chisholm ignored what some openly described as the twin disqualifications of race and gender in her spirited 1972 presidential campaign. She ran all the way to the Democratic convention, inspiring diverse followers and angering opponents, including members of the Nixon administration who sought to derail her candidacy.
As The Highest Glass Ceiling reveals, women’s pursuit of the Oval Office, then and now, has involved myriad forms of influence, opposition, and intrigue.
From the 1930s to the 1960s, the booming popularity of country music threw a spotlight on a new generation of innovative women artists. These individuals blazed trails as singers, musicians, and performers even as the industry hemmed in their potential popularity with labels like woman hillbilly, singing cowgirl, and honky-tonk angel.
Stephanie Vander Wel looks at the careers of artists like Patsy Montana, Rose Maddox, and Kitty Wells against the backdrop of country music's golden age. Analyzing recordings and appearances on radio, film, and television, she connects performances to real and imagined places and examines how the music sparked new ways for women listeners to imagine the open range, the honky-tonk, and the home. The music also captured the tensions felt by women facing geographic disruption and economic uncertainty. While classic songs and heartfelt performances might ease anxieties, the subject matter underlined women's ambivalent relationships to industrialism, middle-class security, and established notions of femininity.
Wendy Lesser counters the reigning belief that male artists inevitably misrepresent women. She builds this daring case compellingly through inquiry into many unexpected and delightfully germane subjects—Marilyn Monroe’s walk, for instance, or dwarf manicurist Miss Mowcher in David Copperfield, or the shoulder blades of Degas’s bathers. Placing such particulars within the framework of Plato’s myth of the divided beings and psychoanalytic concepts of narcissism, Lesser sets out before us an art that responds to and even attempts to overcome division.
By following a developmental, rather than historical, sequence, the book uncovers startling correspondences and fresh insights. It begins by considering Dickens, Lawrence, Harold Brodkey, Peter Handke, and John Berger on the subject of mothers; turns to Degas and the Victorian novelist George Gissing to examine the figure of woman alone, and then to Henry James and Alfred Hitchcock for their perspectives on the battle between the sexes; and then looks at the poetry of Randall Jarrell, the fashion photographs of Cecil Beaton, and the range of artworks inspired by Marilyn Monroe to investigate the central idea of woman as the artist's mirror and secret self.
A chapter on Barbara Stanwyck returns us to an essential premise—that art transcends gender boundaries, that the masculine and the feminine coexist within each individual psyche. The refreshingly open-minded approach of His Other Half finds its corollary in Lesser's lucid and accessible style. With great affection for her subject and her audience, Lesser writes in language that is opinionated yet free of cant. Her book avoids—as the best art avoids—prefabricated schemes and ideological presumptions. At once exploratory and definitive, original and erudite, His Other Half is critical inquiry at its finest.
History films were a highly popular genre in the 1990s, as Hollywood looked back at significant and troubling episodes from World War II, the Cold War era, and the techno-war in the Persian Gulf. As filmmakers attempted to confront and manage intractable elements of the American past, such as the trauma of war and the legacy of racism, Susan Linville argues that a surprising casualty occurred—the erasure of relevant facets of contemporary women's history.
In this book, Linville offers a sustained critique of the history film and its reduction of women to figures of ambivalence or absence. Historicizing and adapting Freud's concept of the uncanny and its relationship to the maternal body as the first home, she offers theoretically sophisticated readings of the films Midnight Clear, Saving Private Ryan, The Thin Red Line, Nixon, Courage Under Fire, Lone Star, and Limbo. She also demonstrates that the uncanny is not only a source of anxiety but also potentially a progressive force for eroding nostalgic ideals of nation and gender. Linville concludes with a close reading of a recent 9/11 documentary, showing how the patterns and motifs of 1990s history films informed it and what that means for our future.
The French Revolution opened a whole new stage in the history of women, despite their conspicuous absence from the playbill. The coming century would see women’s subordination to men codified in all manner of new laws and rules; and yet the period would also witness the birth of feminism, the unprecedented emergence of women as a collective force in the political arena.
The fourth volume in this world-acclaimed series covers the distance between these two poles, between the French Revolution and World War I. It gives us a vibrant picture of a bourgeois century, dynamic and expansive, in which the role of woman in the home was stressed more and more, even as the economic pressures and opportunities of the industrial revolution drew her out of the house; in which woman’s growing role in the family as the center of all morals and virtues pressed her into public service to fight social ills.
Drawing on myriad sources—from the faint traces left by the rocking of a cradle at the site of an early medieval home to an antique illustration of Eve’s fall from grace—this second volume in the celebrated series offers new perspectives on women of the past. Twelve distinguished historians from many countries examine the image of women in the masculine mind, their social condition, and their daily experience from the demise of the Roman Empire to the genesis of the Italian Renaissance.
More than in any other era, a medieval woman’s place in society was determined by men; her sexuality was perceived as disruptive and dangerous, her proper realm that of the home and cloister. The authors draw upon the writings of bishops and abbots, moralists and merchants, philosophers and legislators, to illuminate how men controlled women’s lives. Sumptuary laws regulating feminine dress and ornament, pastoral letters admonishing women to keep silent and remain chaste, and learned treatises with their fantastic theories about women’s physiology are fully explored in these pages. As adoration of the Virgin Mary reached full flower by the year 1200, ecclesiastics began to envision motherhood as a holy role; misogyny, however, flourished unrestrained in local proverbs, secular verses, and clerical thought throughout the period.
Were women’s fates sealed by the dictates of church and society? The authors investigate legal, economic, and demographic aspects of family and communal life between the sixth and the fifteenth centuries and bring to light the fleeting moments in which women managed to seize some small measure of autonomy over their lives. The notion that courtly love empowered feudal women is discredited in this volume. The pattern of wear on a hearthstone, fingerprints on a terracotta pot, and artifacts from everyday life such as scissors, thimbles, spindles, and combs are used to reconstruct in superb detail the commonplace tasks that shaped women’s existence inside and outside the home. As in antiquity, male fantasies and fears are evident in art. Yet a growing number of women rendered visions of their own gender in sumptuous tapestries and illuminations. The authors look at the surviving texts of female poets and mystics and document the stirrings of a quiet revolution throughout the West, as a few daring women began to preserve their thoughts in writing.
Informed by the work of seventy-five distinguished historians, this five-volume series sets before us an engaging, panoramic chronicle that extends from antiquity to the present day.
The inaugural volume brings women from the margins of ancient history into the fore. It offers fresh insight into more than twenty centuries of Greek and Roman history and encompasses a landscape that stretches from the North Sea to the Mediterranean and from the Pillars of Hercules to the banks of the Indus. The authors draw upon a wide range of sources including gravestones, floor plans, papyrus rolls, vase paintings, and literary works to illustrate how representations of women evolved during this age. They journey into the minds of men and bring to light an imaginative history of women and of the relations between the sexes.
In 1982, 20,000 Chinese-American garment workers—most of them women—went on strike in New York City. Every Chinese garment industry employer in the city soon signed a union contract. The successful action reflected the ways women's changing positions within their families and within the workplace galvanized them to stand up for themselves.
Xiaolan Bao's now-classic study penetrates to the heart of Chinese American society to explain how this militancy and organized protest, seemingly so at odds with traditional Chinese female behavior, came about. Drawing on more than one hundred interviews, Bao blends the poignant personal stories of Chinese immigrant workers with the interwoven history of the garment industry and the city's Chinese community. Bao shows how the high rate of married women employed outside the home profoundly transformed family culture and with it the image and empowerment of Chinese American women. At the same time, she offers a complex and subtle discussion of the interplay of ethnic and class factors within New York's garment industry.
Passionately told and prodigiously documented, Holding Up More Than Half the Sky examines the journey of a community's women through an era of change in the home, on the shop floor, and walking the picket line.
Lillian Lorca de Tagle is living proof of women's progress in the twentieth century. Born into a privileged, yet circumscribed world in 1914 as the daughter of a wealthy Chilean diplomat, she became a translator and journalist at a time when few women of her class held jobs. Ordered into exile in the United States by her disapproving mother, she became a successful reporter, translator, and editor, while raising two daughters as a single working mother.
In this beautifully written memoir, de Tagle looks back over a fascinating, cosmopolitan life. She describes how her upbringing in various European capitals prepared her for a life of continual change. She remembers the restrictions that upper class Chilean society placed on women and how these ultimately propelled her to a career in the United States that included an editorship at Américas magazine and work for the State Department, as well as a series of posts with the USIA/Voice of America.
Woven throughout her memoir are vivid glimpses of family, friends, husbands, and lovers, including the artist Roberto Matta. This spicy blend of personalities, work, and culture tells a quintessential coming-of-age story of a thoroughly modern woman.
Hope Leslie (1827), set in the seventeenth-century New England, is a novel that forced readers to confront the consequences of the Puritans’ subjugation and displacement of the indigenous Indian population at a time when contemporaries were demanding still more land from the Cherokees, the Chickasaws, and the Choctaws.
"This handsome reprint ... makes available after many decades the New Englander's tale of seventeeth-century Puritans, and their relations with the indigenous Indian population." -- Nineteeth-Century Literature
" A splendidly conceived edition of Sedwick's historical romance. Highly recommended." --Choice
"Develop(s) the connections between patriarchal authority within the Puritan state and its policy of dispossessing and exterminating Indians. The different heritage it envisions explicitly link white women and Indians and elaborates a communal concept of liberty at odds with the individualistic concept which predominated in American culture." -- Legacy
How did menopause change from being a natural (and often welcome) end to a woman's childbearing years to a deficiency disease in need of medical and pharmacological intervention? As she traces the medicalization of menopause over the last 100 years, historian Judith Houck challenges some widely held assumptions. Physicians hardly foisted hormones on reluctant female patients; rather, physicians themselves were often reluctant to claim menopause as a medical problem and resisted the widespread use of hormone therapy for what was, after all, a normal transition in a woman's lifespan. Houck argues that the medical and popular understandings of menopause at any given time depended on both pharmacological options and cultural ideas and anxieties of the moment. As women delayed marriage and motherhood and entered the workforce in greater numbers, the medical understanding, cultural meaning, and experience of menopause changed. By examining the history of menopause over the course of the twentieth century, Houck shows how the experience and representation of menopause has been profoundly influenced by biomedical developments and by changing roles for women and the changing definition of womanhood.
A bold account of property reform during the French Revolution, arguing that the lofty democratic ideals enshrined by revolutionary leaders were rarely secured in practice—with lasting consequences.
Property reform was at the heart of the French Revolution. As lawmakers proclaimed at the time, and as historians have long echoed, the Revolution created modern property rights. Under the new regime, property was redefined as an individual right to which all citizens were entitled. Yet as the state seized assets and prepared them for sale, administrators quickly found that realizing the dream of democratic property rights was far more complicated than simply rewriting laws.
H. B. Callaway sifts through records on Parisian émigrés who fled the country during the Revolution, leaving behind property that the state tried to confiscate. Immediately, officials faced difficult questions about what constituted property, how to prove ownership, and how to navigate the complexities of credit arrangements and family lineage. Mothers fought to protect the inheritances of their children, tenants angled to avoid rent payments, and creditors sought their dues. In attempting to execute policy, administrators regularly exercised their own judgment on the validity of claims. Their records reveal far more continuity between the Old Regime and revolutionary practices than the law proclaimed. Property ownership continued to depend on webs of connections beyond the citizen-state relationship, reinforced by customary law and inheritance traditions. The resulting property system was a product of contingent, on-the-ground negotiations as much as revolutionary law.
The House in the Rue Saint-Fiacre takes stock of the contradictions on which modern property rights were founded. As Callaway shows, the property confiscations of Parisian émigrés are a powerful, clarifying lens on the idea of ownership even as it exists today.
Employing the trope of architecture, Jane Sutton envisions the relationship between women and rhetoric as a house: a structure erected in ancient Greece by men that, historically, has made room for women but has also denied them the authority and agency to speak from within. Sutton’s central argument is that all attempts to include women in rhetoric exclude them from meaningful authority in due course, and this exclusion has been built into the foundations of rhetoric.
Drawing on personal experience, the spatial tropes of ancient Greek architecture, and the study of women who attained significant places in the house of rhetoric, Sutton highlights a number of decisive turns where women were able to increase their rhetorical access but were not able to achieve full authority, among them the work of Frances Wright, Lucy Stone, and suffragists Mott, Anthony, and Stanton; a visit to the 1893 World’s Columbian Exposition in Chicago, where the busts that became the Portrait Monument were displayed in the Woman’s Building (a sideshow, in essence); and a study of working-class women employed as telephone operators in New York in 1919.
With all the undeniable successes—socially, politically, and financially— of modern women, it appears that women are now populating the house of rhetoric as never before. But getting in the house and having public authority once inside are not the same thing. Sutton argues that women “can only act as far as the house permits.” Sojourn calls for a fundamental change in the very foundations of rhetoric.
How a Century of War Changed the Lives of Women looks at the remarkable impact of war on women in Britain. It shows how conflict has changed women’s lives and how those changes have put women at the centre of peace campaigning.
Lindsey German, one of the UK's leading anti-war activists and commentators, shows how women have played a central role in anti-war and peace movements, including the recent wars in Afghanistan and Iraq. The women themselves talk about how they overcame prejudice and difficulty to become active. The book integrates this experience with a historical overview, analysing the two world wars as catalysts of social change for women. It looks at how the changing nature of war, especially the involvement of civilians, increasingly involves significant numbers of women.
As well as providing an inspiring account of women's opposition to war, the book also tackles key contemporary developments, challenging negative assumptions about Muslim women and showing how anti-war movements are feeding into a broader desire to change society.
How I Got Cultured is a moving, candid, and sometimes hilarious account of an American adolescence, negotiated between the strictures of a demanding faith and the allures of one of the most flamboyant cities in the world.
Michigan State University Press is proud to announce the re-release of Harriette Simpson Arnow's 1949 novel Hunter's Horn, a work that Joyce Carol Oates called "our most unpretentious American masterpiece."
In Hunter's Horn, Arnow has written the quintessential account of Kentucky hill people—the quintessential novel of Southern Appalachian farmers, foxhunters, foxhounds, women, and children. New York Times reviewer Hirschel Brickell declared that Arnow "writes...as effortlessly as a bird sings, and the warmth, beauty, the sadness and the ache of life itself are not even once absent from her pages."
Arnow writes about Kentucky in the way that William Faulkner writes about Mississippi, that Flannery O'Connor writes about Georgia, or that Willa Cather writes about Nebraska—with studied realism, with landscapes and characters that take on mythic proportions, with humor, and with memorable and remarkable attention to details of the human heart that motivate literature.
Hypatia—brilliant mathematician, eloquent Neoplatonist, and a woman renowned for her beauty—was brutally murdered by a mob of Christians in Alexandria in 415. She has been a legend ever since. In this engrossing book, Maria Dzielska searches behind the legend to bring us the real story of Hypatia's life and death, and new insight into her colorful world.
Historians and poets, Victorian novelists and contemporary feminists have seen Hypatia as a symbol—of the waning of classical culture and freedom of inquiry, of the rise of fanatical Christianity, or of sexual freedom. Dzielska shows us why versions of Hypatia's legend have served her champions' purposes, and how they have distorted the true story. She takes us back to the Alexandria of Hypatia's day, with its Library and Museion, pagan cults and the pontificate of Saint Cyril, thriving Jewish community and vibrant Greek culture, and circles of philosophers, mathematicians, astronomers, and militant Christians. Drawing on the letters of Hypatia's most prominent pupil, Synesius of Cyrene, Dzielska constructs a compelling picture of the young philosopher's disciples and her teaching. Finally she plumbs her sources for the facts surrounding Hypatia's cruel death, clarifying what the murder tells us about the tensions of this tumultuous era.
Ideal for classroom use, this anthology of original essays by the leading authorities on women’s comedy surveys the disorderly, subversive, and unruly performances of women comics from silent film to contemporary multimedia
Winner, Susan Koppleman Award for Best Anthology, Multi-Authored, or Edited Book in Feminist Studies, Popular and American Culture Associations (PACA), 2017
Amy Schumer, Samantha Bee, Mindy Kaling, Melissa McCarthy, Tig Notaro, Leslie Jones, and a host of hilarious peers are killing it nightly on American stages and screens large and small, smashing the tired stereotype that women aren’t funny. But today’s funny women aren’t a new phenomenon—they have generations of hysterically funny foremothers. Fay Tincher’s daredevil stunts, Mae West’s linebacker walk, Lucille Ball’s manic slapstick, Carol Burnett’s athletic pratfalls, Ellen DeGeneres’s tomboy pranks, Whoopi Goldberg’s sly twinkle, and Tina Fey’s acerbic wit all paved the way for contemporary unruly women, whose comedy upends the norms and ideals of women’s bodies and behaviors.
Hysterical! Women in American Comedy delivers a lively survey of women comics from the stars of the silent cinema up through the multimedia presences of Tina Fey and Lena Dunham. This anthology of original essays includes contributions by the field’s leading authorities, introducing a new framework for women’s comedy that analyzes the implications of hysterical laughter and hysterically funny performances. Expanding on previous studies of comedians such as Mae West, Moms Mabley, and Margaret Cho, and offering the first scholarly work on comedy pioneers Mabel Normand, Fay Tincher, and Carol Burnett, the contributors explore such topics as racial/ethnic/sexual identity, celebrity, stardom, censorship, auteurism, cuteness, and postfeminism across multiple media. Situated within the main currents of gender and queer studies, as well as American studies and feminist media scholarship, Hysterical! masterfully demonstrates that hysteria—women acting out and acting up—is a provocative, empowering model for women’s comedy.
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