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First published in 1932, Pan Chao is perhaps the earliest work by an American scholar on a Chinese woman intellectual. Alongside the story of Pan’s life, Nancy Lee Swann sketches the Eastern Han period when Pan lived and wrote, her family background, and the literary milieu of which she was a part. In addition, Swann provides translations of writings definitively identified with Pan that survive from the years when she was active (ca. 89–105 a.d.).

While Pan is well known for her contribution to the great Han-shu, of special interest is her treatise on the moral training of women, in which she makes a plea for girls to be given the same education as boys and points to principles that led young women to success in ancient China. Swann also includes memorials, short poems, and an essay, all of which demonstrate Pan's rhetorical skills and her concerns at the Han court.

A considerable work of scholarship, Pan Chao is grounded in Swann’s detailed knowledge of the history and literature of the late Han. Swann includes the Chinese text for shorter works and a comprehensive list of primary sources on this important early scholar.

France today is in the throes of a crisis about whether to represent social differences within its political system and, if so, how. It is a crisis defined by the rhetoric of a universalism that takes the abstract individual to be the representative not only of citizens but also of the nation. In Parité! Joan Wallach Scott shows how the requirement for abstraction has led to the exclusion of women from French politics. 

During the 1990s, le mouvement pour la parité successfully campaigned for women's inclusion in elective office with an argument that is unprecedented in the annals of feminism. The paritaristes insisted that if the abstract individual were thought of as sexed, then sexual difference would no longer be a relevant consideration in politics. Scott insists that this argument was neither essentialist nor separatist; it was not about women's special qualities or interests. Instead, parité was rigorously universalist—and for that reason was both misunderstood and a source of heated debate.

Piercy writes of women and poetry and of woman becoming poet

Partners in Conflict examines the importance of sexuality and gender to rural labor and agrarian politics during the last days of Chile’s latifundia system of traditional landed estates and throughout the governments of Eduardo Frei and Salvador Allende. Heidi Tinsman analyzes differences between men’s and women’s participation in Chile’s Agrarian Reform movement and considers how conflicts over gender and sexuality shape the contours of working-class struggles and national politics.

Tinsman restores women to a scholarly narrative that has been almost exclusively about men, recounting the centrality of women’s labor to the pre-Agrarian Reform world of the hacienda during the 1950s and recovering women’s critical roles in union struggles and land occupations during the Agrarian Reform itself. Providing a theoretical framework for understanding why the Agrarian Reform ultimately empowered men more than women, Tinsman argues that women were marginalized not because the Agrarian Reform ignored women but because, under both the Frei and Allende governments, it promoted the male-headed household as the cornerstone of a new society. Although this emphasis on gender cooperation stressed that men should have more respect for their wives and funneled unprecedented amounts of resources into women’s hands, the reform defined men as its protagonists and affirmed their authority over women.

This is the first monographic social history of Chile’s Agrarian Reform in either English or Spanish, and the first historical work to make sexuality and gender central to the analysis of the reforms.

The collected essays in Pathos and Power provide a critical exploration of widowhood in Africa through a series of historical and contemporary case studies. The book challenges a simplistic understanding of widowhood by highlighting how the experience varies according to age, class, race, religion, and geographic location. The contributors investigate how the category of widowhood can obscure or reveal various social dynamics while demonstrating the diversity of material, symbolic, and embodied circumstances faced by African widows. The volume considers the forces shaping the lives of widows by examining the structural and legal challenges they encounter, including discriminatory practices in social, economic, and political spheres. Through discussions of precolonial, colonial, and postcolonial contexts, it explores the intersections of custom, law, patriarchy, and feminism while delving into the potentially liberatory opportunities that widowhood sometimes presents. The book also raises broader questions about gender, personhood, marriage, autonomy, and national identity, emphasizing how widowhood informs key conceptual debates in African studies. Editors Joanna Davidson and Benjamin N. Lawrance bring together scholars across such fields as anthropology, gender studies, history, law, and political science. The authors employ a range of methodologies, including archival research, ethnography, and storytelling, to illuminate widowhood in new and innovative ways. The volume’s rich empirical studies and theoretical insights offer a valuable resource for scholars seeking to understand widowhood and its broader implications in African societies. CONTRIBUTORS Rogaia Mustafa Abusharaf Fisayo Ajala Catherine E. Bolten Abbass Braham Mariana Candido Joanna Davidson Mariana Dias Paes Ramadan El-Khouli Casey Golomski Juelma Gomes de Matos Ngãla Benjamin N. Lawrance Kenda Mutongi Richard L. Roberts Enid Schildkrout Kate Skinner Wallace Teska Benjamin Twagira Sarah J. Zimmerman

M. Jacqui Alexander is one of the most important theorists of transnational feminism working today. Pedagogies of Crossing brings together essays she has written over the past decade, uniting her incisive critiques, which have had such a profound impact on feminist, queer, and critical race theories, with some of her more recent work. In this landmark interdisciplinary volume, Alexander points to a number of critical imperatives made all the more urgent by contemporary manifestations of neoimperialism and neocolonialism. Among these are the need for North American feminism and queer studies to take up transnational frameworks that foreground questions of colonialism, political economy, and racial formation; for a thorough re-conceptualization of modernity to account for the heteronormative regulatory practices of modern state formations; and for feminists to wrestle with the spiritual dimensions of experience and the meaning of sacred subjectivity.

In these meditations, Alexander deftly unites large, often contradictory, historical processes across time and space. She focuses on the criminalization of queer communities in both the United States and the Caribbean in ways that prompt us to rethink how modernity invents its own traditions; she juxtaposes the political organizing and consciousness of women workers in global factories in Mexico, the Caribbean, and Canada with the pressing need for those in the academic factory to teach for social justice; she reflects on the limits and failures of liberal pluralism; and she presents original and compelling arguments that show how and why transgenerational memory is an indispensable spiritual practice within differently constituted women-of-color communities as it operates as a powerful antidote to oppression. In this multifaceted, visionary book, Alexander maps the terrain of alternative histories and offers new forms of knowledge with which to mold alternative futures.

Pedagogy of Democracy re-interprets the U.S. occupation of Japan from 1945 to 1952 as a problematic instance of Cold War feminist mobilization rather than a successful democratization of Japanese women as previously argued. By combining three fields of research—occupation, Cold War, and postcolonial feminist studies—and examining occupation records and other archival sources, Koikari argues that postwar gender reform was one of the Cold War containment strategies that undermined rather than promoted women’s political and economic rights.

Parenting today is virtually synonymous with worry. We want to ensure that our children are healthy, that they get a good education, and that they grow up to be able to cope with the challenges of modern life. In our anxiety, we are keenly aware of our inability to know what is best for our children. When should we toilet train? What is the best way to encourage a fussy child to eat? How should we protect our children from disease and injury?

Before the nineteenth century, maternal instinct—a mother’s “natural know-how”—was considered the only tool necessary for effective childrearing. Over the past two hundred years, however, science has entered the realm of motherhood in increasingly significant ways.  In Perfect Motherhood, Rima D. Apple shows how the growing belief that mothers need to be savvy about the latest scientific directives has shifted the role of expert away from the mother and toward the professional establishment. Apple, however, argues that most women today are finding ways to negotiate among the abundance of scientific recommendations, their own knowledge, and the reality of their daily lives.

 Pillar of Salt introduces the controversy over recollections of childhood sexual abuse as the window onto a much broader field of ideas concerning memory, storytelling, and the psychology of women. The book moves beyond the poles of “true” and “false” memories to show how women’s stories reveal layers of gendered and ambiguous meanings, spanning a wide historical, cultural, literary, and clinical landscape. The author offers the concept of transformative remembering as an alternative framework for looking back, one that makes use of fantasy in understanding the narrative truth of childhood recollections.Haaken provides an alternative reading of clinical material, showing how sexual storytelling transcends the symbolic and the “real” and how cultural repression of desire remains as problematic for women as the psychological legacy of trauma.

Subverting stereotypical images of women, a new generation of feminist artists is remaking the pin-up, much as Annie Sprinkle, Cindy Sherman, and others did in the 1970s and 1980s. As shocking as contemporary feminist pin-ups are intended to be, perhaps more surprising is that the pin-up has been appropriated by women for their own empowerment since its inception more than a century ago. Pin-Up Grrrls tells the history of the pin-up from its birth, revealing how its development is intimately connected to the history of feminism. Maria Elena Buszek documents the genre’s 150-year history with more than 100 illustrations, many never before published.

Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.

In Pink Globalization, Christine R. Yano examines the creation and rise of Hello Kitty as a part of Japanese Cute-Cool culture. Yano argues that the international popularity of Hello Kitty is one aspect of what she calls pink globalization—the spread of goods and images labeled cute (kawaii) from Japan to other parts of the industrial world. The concept of pink globalization connects the expansion of Japanese companies to overseas markets, the enhanced distribution of Japanese products, and the rise of Japan's national cool as suggested by the spread of manga and anime. Yano analyzes the changing complex of relations and identities surrounding the global reach of Hello Kitty's cute culture, discussing the responses of both ardent fans and virulent detractors. Through interviews, Yano shows how consumers use this iconic cat to negotiate gender, nostalgia, and national identity. She demonstrates that pink globalization allows the foreign to become familiar as it brings together the intimacy of cute and the distance of cool. Hello Kitty and her entourage of marketers and consumers wink, giddily suggesting innocence, sexuality, irony, sophistication, and even sheer happiness. Yano reveals the edgy power in this wink and the ways it can overturn, or at least challenge, power structures.

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement.

Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.

Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

Women held more positions of power in the silent film era than at any other time in American motion picture history. Marion Leonard broke from acting to cofound a feature film company. Gene Gauntier, the face of Kalem Films, also wrote the first script of Ben-Hur. Helen Holmes choreographed her own breathtaking on-camera stunt work. Yet they and the other pioneering filmmaking women vanished from memory. Using individual careers as a point of departure, Jane M. Gaines charts how women first fell out of the limelight and then out of the film history itself. A more perplexing event cemented their obscurity: the failure of 1970s feminist historiography to rediscover them. Gaines examines how it happened against a backdrop of feminist theory and her own meditation on the limits that historiography imposes on scholars. Pondering how silent era women have become absent in the abstract while present in reality, Gaines sees a need for a theory of these artists' pasts that relates their aspirations to those of contemporary women. A bold journey through history and memory, Pink-Slipped pursues the still-elusive fate of the influential women in the early years of film.

This volume, an amazing act of historical recovery and reconstruction, offers a comprehensive examination of Jewish women in Europe during the High Middle Ages (1000–1300). Avraham Grossman covers multiple aspects of women’s lives in medieval Jewish society, including the image of woman, the structure of the family unit, age at marriage, position in family and society, her place in economic and religious life, her education, her role in family ceremonies, violence against women, and the position of the divorcée and the widow in society. Grossman shows that the High Middle Ages saw a distinct improvement in the status of Jewish women in Europe relative to their status during the Talmudic period and in Muslim countries. If, during the twelfth century, rabbis applauded women as "pious and pure" because of their major role in the martyrdom of the Crusades of 1096, then by the end of the thirteenth century, rabbis complained that women were becoming bold and rebellious. Two main factors fostered this change: first, the transformation of Jewish society from agrarian to "bourgeois," with women performing an increasingly important function in the family economy; and second, the openness toward women in Christian Europe, where women were not subjected to strict limitations based upon conceptions of modesty, as was the case in Muslim countries. The heart of Grossman’s book concerns the improvement of Jewish women’s lot, and the efforts of secular and religious authorities to impede their new-found status. Bringing together a variety of sources including halakhic literature, biblical and talmudic exegesis, ethical literature and philosophy, love songs, folklore and popular literature, gravestones, and drawings, Grossman’s book reconstructs the hitherto unrecorded lives of Jewish women during the Middle Ages.

Alaska has always attracted people from varied backgrounds. In A Place of Belonging, Phyllis Movius introduces us to five women who settled in Fairbanks between 1903 and 1923 and who typify the disparate population that has long enriched Alaska. The women’s daily lives and personal stories are woven together in these biographical portraits, drawn from the women’s letters, memoirs, personal papers, club records, their own oral histories and published writings. Enriched by many never-before-published historical photos, Movius’s research gives us a unique inroad into life on the frontier.

“If beauty is truth, is ugliness falsehood and deception? If all art need concern itself with is beauty, what need have we to explore in our literature the nature and consequences of ugliness?” In Plain and Ugly Janes, originally published in hardcover in 2000 by Garland, Charlotte Wright defines and explores the ramifications of a new character type in twentieth-century American literature, the “ugly woman,” whose roots can be traced to the old maid/spinster character of the nineteenth century.

During the 1970s, stories began to appear in which the ugly woman is a figure of power—heroic not in the traditional old maid's way of quiet, passive acceptance but in a way more in keeping with the active, masculine definition of heroic behavior. Wright uses these stories to discuss the nature and definitions of ugliness and the effects of female ugliness on both male and female literary characters in the works of a range of American authors, including Sherwood Anderson, Russell Banks, Djuna Barnes, Peter S. Beagle, Sarah Bird, Ray Bradbury, Katherine Dunn, Louise Erdrich, William Faulkner, Tess Gallagher, Barry Hannah, Ernest Hemingway, Zora Neale Hurston, Alison Lurie, Lorrie Moore, Joyce Carol Oates, Flannery O'Connor, Katherine Anne Porter, Leon Rooke, Anne Tyler, Alice Walker, and Eudora Welty. Wright concludes that the ugly woman character allows American authors to explore the ironies and inequalities inherent in the beauty system.

Based on almost a decade of research in the Kathmandu Valley, Planning Families in Nepal offers a compelling account of Hindu Nepali women as they face conflicting global and local ideals regarding family planning. 

 

Promoting a two-child norm, global family planning programs have disseminated the slogan, “A small family is a happy family,” throughout the global South. Jan Brunson examines how two generations of Hindu Nepali women negotiate this global message of a two-child family and a more local need to produce a son. Brunson explains that while women did not prefer sons to daughters, they recognized that in the dominant patrilocal family system, their daughters would eventually marry and be lost to other households. As a result, despite recent increases in educational and career opportunities for daughters, mothers still hoped for a son who would bring a daughter-in-law into the family and care for his aging parents. Mothers worried about whether their modern, rebellious sons would fulfill their filial duties, but ultimately those sons demonstrated an enduring commitment to living with their aging parents. In the context of rapid social change related to national politics as well as globalization—a constant influx of new music, clothes, gadgets, and even governments—the sons viewed the multigenerational family as a refuge. 

 

Throughout Planning Families in Nepal, Brunson raises important questions about the notion of “planning” when applied to family formation, arguing that reproduction is better understood as a set of local and global ideals that involve actors with desires and actions with constraints, wrought with delays, stalling, and improvisation.

 

In Plastic Bodies Emilia Sanabria examines how sex hormones are enrolled to create, mold, and discipline social relations and subjectivities. She shows how hormones have become central to contemporary understandings of the body, class, gender, sex, personhood, modernity, and Brazilian national identity. Through interviews with women and doctors; observations in clinics, research centers and pharmacies; and analyses of contraceptive marketing, Sanabria traces the genealogy of menstrual suppression, from its use in population control strategies in the global South to its remarketing as a practice of pharmaceutical self-enhancement couched in neoliberal notions of choice. She links the widespread practice of menstrual suppression and other related elective medical interventions to Bahian views of the body as a malleable object that requires constant work. Given this bodily plasticity, and its potentially limitless character, the book considers ways to assess the values attributed to bodily interventions. Plastic Bodies will be of interest to all those working in medical anthropology, gender studies, and sexual and reproductive health.

Smart women, sophisticated ladies, savvy writers . . . Edna St. Vincent Millay, Dorothy Parker, Anita Loos, Lois Long, Jessie Fauset, Dawn Powell, Mary McCarthy, and others imagined New York as a place where they could claim professional status, define urban independence, and shrug off confining feminine roles. It might be said that during the 1920s and 1930s these literary artists painted the town red on the pages of magazines like Vanity Fair and the New Yorker. Playing Smart, Catherine Keyser's homage to their literary genius, is a captivating celebration of their causes and careers.

Through humor writing, this "smart set" expressed both sides of the story-promoting their urbanity and wit while using irony and caricature to challenge feminine stereotypes. Their fiction raised questions about what it meant to be a woman in the public eye, how gender roles would change because men and women were working together, and how the growth of the magazine industry would affect women's relationships to their bodies and minds. Keyser provides a refreshing and informative chronicle, saluting the value of being "smart" as incisive and innovative humor showed off the wit and talent of women writers and satirized the fantasy world created by magazines.

Plays by French and Francophone Women presents eight recent plays by contemporary French and francophone women writers. The plays vary in style and form from the satirical to the poetic, from the comedic one-woman show to the potential multi-media esoteric production, and have been written by French, Qué becois, Acadian, and Caribbean francophone writers. The editors have provided informative headnotes to introduce each play, then faithful translations rendered with an ear toward production in English. A general introduction to the volume situates each work within the broader context of contemporary French-language theater by women. The volume also includes an annotated bibliography by Cynthia Running-Johnson of thirty-one additional plays by women in French.

Featured plays and playwrights are The Scent of Sulphur by S. Corinna Bille; When Fairies Thirst by Denise Boucher; Island Memories by Ina Césaire; Warmth: A Bloodsong by Chantal Chawaf; The Goddess Lar or Centuries of Women by Andrée Chedid; The Name of Oedipus: Song of the Forbidden Body by Hélène Cixous; The Table: Womenspeak by Michèle Foucher; and The Rabble by Antonine Maillet.

Plundered Kitchens, Empty Wombs examines the symbolic language of food, fertility, and infertility in a small, mountainous African kingdom to explore more general notions of gender, modernity, and cultural identity.
In the Cameroon grassfields, an area of high fertility, women hold a paradoxical fear of infertility. By combining symbolic, political-economic, and historical analyses, Pamela Feldman-Savelsberg traces the way reproductive threat is invoked in struggles over gender and ethnic identities. Women's fears of reproductive disorders, she finds, are an important mode of expression for their worries about much larger issues, such as rural poverty, brought about or exacerbated by political and economic changes in this century.
A lively case study of an infertile queen who flees the palace sets the stage for discussions of the ethnographic and historical setting, the symbolism of fertility and infertility, and the development and interaction of cosmopolitan and ethno-gynecologies. The book concludes with an analysis of the links between women's role in human reproduction and the divine king's role in social reproduction, both occurring in the rapidly changing context of a multiethnic African nation.
Plundered Kitchens, Empty Wombs underscores the relevance of medical anthropology to other anthropological specializations, as well as to epidemiologists, population specialists, and development planners. It should reach a broad audience in medical anthropology, public health, and women's studies.
Pamela Feldman-Savelsberg is Assistant Professor of Anthropology, Carleton College.

This book explores the relationships between four modernist poets and the museums that helped shape their writing. During the early twentieth century, museums were trying to reach a wider audience and used displayed objects to teach that audience about art, culture, and ecology. Writers such as Yeats, Pound, Moore, and Stein borrowed strategies and techniques from museums in order to create literary modernism. Poetry in the Museums of Modernism places these writers' poetry and prose within the context of specific gallery spaces, curatorial practices, displayed objects, and exhibition objectives of the museums that inspired them, exposing the ways in which literary modernism is linked to museums.
Although critics have attested to the importance of the visual arts to literary modernists and have begun to explore the relationships between literary production and social institutions, before now no one has examined the particular institutions in which modernist poets found the artworks, specimens, and other artifacts that inspired their literary innovations. Catherine Paul's book offers the reader a fresh encounter with modernism that will interest literary and art historians, literary theorists, critics, and scholars in cultural studies and museum studies.
Catherine Paul is Associate Professor of English, Clemson University.

Based on the lives and crimes of no less than twenty real women, dokufu (poison women) narratives emerged as a powerful presence in Japan during the 1870s. During this tumultuous time, as the nation moved from feudalism to oligarchic government, such accounts articulated the politics and position of underclass women, sexual morality, and female suffrage. Over the next century, the figure of the oversexed female criminal, usually guilty of robbery or murder, became ubiquitous in modern Japanese culture.

In Poison Woman, Christine L. Marran investigates this powerful icon, its shifting meanings, and its influence on defining women’s sexuality and place in Japan. She begins by considering Meiji gesaku literature, in which female criminality was often medically defined and marginalized as abnormal. She describes the small newspapers (koshinbun) that originally reported on poison women, establishing journalistic and legal conventions for future fiction about them. She examines zange, or confessional narratives, of female and male ex-convicts from the turn of the century, then reveals how medical and psychoanalytical literature of the 1920s and 1930s offered contradictory explanations of the female criminal as an everywoman or a historical victim of social circumstances and the press. She concludes by exploring postwar pulp fiction (kasutori), film and underground theater of the 1970s, and the feminist writer Tomioka Taeko’s take on the transgressive woman.

Persistent stories about poison women illustrate how a few violent acts by women were transformed into myriad ideological, social, and moral tales that deployed notions of female sexual desire and womanhood. Bringing together literary criticism, the history of science, media theory, and gender and sexuality studies, Poison Woman delves into genre and gender in ways that implicate both in projects of nation-building.

Christine L. Marran is associate professor of Japanese literature and cultural studies at the University of Minnesota.

Many of us take the presence of policewomen on patrol and in investigative roles for granted. Realistic dramas and comedies in the movies and on television show women officers performing the same duties as men on the force. This visibility tells us nothing about the hostility and controversy that have beset policewomen since they were first hired by police departments in the 1910s. Author Janis Appier traces the origins of women in police work, explaining how pioneer policewomen's struggles to gain secure footholds in big city police departments ironically helped to make modern policework one of the most male dominated occupations in the United State.

With a new vision of non-coercive police work and crime prevention, Progressive reformers exerted political and social pressure to create positions for female officers dedicated to guiding and protecting juveniles and women. Women reformers pointed to changing sexual mores among working-class female youth to emphasize the need for a new approach to policing.

The  policewomen who undertook the work of counseling sexually active teenage girls and their families saw themselves as helping young people achieve moral equilibrium during a period in which standards of context were in flux. In the Los Angeles Police Department, the first to hire women, this social work was primarily the responsibility of the City Mother's Bureau; in other major cities, policewomen's roles were similarly constructed as maternalistic. Scrutinizing case records, public statements, and departmental policies governing policewomen, Appier shows how female officers handled the complex gender politics of their work with the public and within their departments.

Appier reveals that many of these pioneering policewomen succeeded in expanding the scope of policework and carving out a rewarding professional niche, despite continued attempts to oust them or limit their sphere of action. But this advancement was short-lived; within a generation a masculinized model of crime fighting took hold, and policewomen's authority eroded.

Scholars increasingly view the arts, creativity, and the creative economy as engines for regenerating global citizenship, renewing decayed local economies, and nurturing a new type of all-inclusive politics. Dia Da Costa delves into the global development, nationalist and leftist/progressive histories shaping these ideas with a critical ethnography of two activist performance groups in India: the Communist-affiliated Jana Natya Manch, and Budhan Theatre, a community-based group of the indigenous Chhara people.
 
As Da Costa shows, commodification, heritage, and management discussions inevitably creep into performance. Yet the ability of performance to undermine such subtle invasions make activist theater a crucial site for considering what counts as creativity in the cultural politics of creative economy. Da Costa explores the precarious lives, livelihoods, and ideologies at the intersection of heritage projects, planning discourse, and activist performance. By analyzing the creators, performers, and activists involved--individuals at the margins of creative economy as well as society--Da Costa builds a provocative argument. Their creative economy practices may survive, challenge, and even reinforce the economies of death, displacement, and divisiveness used by the urban poor to survive.
 

"Well argued and documented, Politics and Scholarship is a fascinating reading of a broader historical perspective of feminist concerns than just the three journals of focus: Feminist Studies, Frontiers, and Signs. The author's historical framework establishes an important overview that should have greater visibility."
-- J'nana Morse Sellery, coauthor of Elizabeth Bowen: A Bibliography
 

Recently, polygamy has become a “primetime” phenomenon. Television shows like Big Love and Sister Wives demonstrate the “progressive” side of polygamy, while horror stories from victims of abusive marriages offer less upbeat experiences among the adherents of the fundamentalist Church of Jesus Christ of Latter Day Saints (FLDS Church). Bennion, herself a product of Mormon polygamy, seeks to dispel the myths and misinformation that surround this topic. This study, based on seventeen years of ethnographic research among the Allred Group (Apostolic United Brethren) and on an analysis of recent blog journal entries written by a range of polygamous women, examines the variety and complexity of contemporary Mormon fundamentalist life in the Intermountain West. Although Bennion highlights problems associated with polygamy, including evidence that some forms are at high risk for father-child incest, she challenges the media-driven depiction of plural marriage as uniformly abusive and harmful to women. She shows how polygamist families can provide both economic security and social sustenance for some women, and how the authority of the husband can be undermined by the stresses of providing for multiple wives and children. Going beyond the media’s obsession with the sexual aspects of polygamous marriage, Bennion offers a rich description of familial, social, and legal contexts. Throughout, she makes the case for legalizing polygamy in order to allow greater visibility and regulation of the practice.

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.

For more than eleven hundred years, the Vestal Virgins dedicated their lives to the goddess Vesta, protector of the Roman state. Though supervised by a male priest, the Pontifex Maximus, they had privileges beyond those of most women; like Roman men, they dispensed favors and influence on behalf of their clients and relatives. In 1883, Rodolfo Lanciani, Director of Antiquities for Rome, discovered the first Vestal statues. The recovery of the Vestals’ house, and the objects contained therein, was an exciting moment in Roman archaeology. Newspapers were filled with details about the huge numbers of sculptures, inscriptions, jewelry, coins, and terracotta figures.

Molly M. Lindner examines the sculptural presentation of the Vestal Virgins and investigates what images of long-dead women tell us about their lives. She addresses why these portraits were created, and why they only began to appear in the late first or second century CE—much later than portraits of other Roman priestesses and nonimperial women. Lindner sheds light on the distinctions between a Vestal portrait and portraits of other priestesses, and considers why Vestal portraits do not copy each other’s headdresses and hairstyles. In addition to the extensive illustrations that complement the text, a catalog of all known Vestal portraits displays historical clues embedded in the hairstyles and facial features of the Vestals and other women of their day. In Portraits of the Vestal Virgins, Priestesses of Ancient Rome, Lindner has given a voice to the long-silent women of these extraordinary marble portraits.

 

Honorable Mention, 2018 Gloria E. Anzaldúa Book Prize from the National Women's Studies Association
2019 Lambda Literary Awards Finalist​

Bringing Chicana/o studies into conversation with queer theory and transgender studies, Post-Borderlandia examines why gender variance is such a core theme in contemporary Chicana and Chicanx narratives. It considers how Chicana butch lesbians and Chicanx trans people are not only challenging heteropatriarchal norms, but also departing from mainstream conceptions of queerness and gender identification.  

Expanding on Gloria Anzaldúa’s classic formulation of the Chicana as transformer of the “borderlands,” Jackie Cuevas explores how a new generation of Chicanx writers, performers, and filmmakers are imagining a “post-borderlands” subjectivity, where shifting national, racial, class, sexual, and gender identifications produce complex power dynamics. In addition, Cuevas offers fresh archival analysis of the Chicana feminist canon to reveal how queer gender variance has always been crucial to this literary tradition. 

Media representations and practices that have emerged out of contemporary wars have been well documented by a wide array of books and articles. These treatments, however, have been less attentive to how cultural constructions of military personnel and war itself figure in the depiction of the incursions in Iraq and Afghanistan. In Post-Feminist War, Mary Douglas Vavrus argues that all of these identity categories are integral to our understanding of those fighting, saved, or victimized by war. She considers two important questions: how the construction of gender, race, and class in media are productive of régimes of truth regarding war and military life, and how such constructions may also intensify militarism. By examining news and documentary media produced since September 11, 2001, Vavrus demonstrates that news narratives that include women use feminism selectively in gender equality narratives, which tend to reinforce historically resonant gender, race, and class identity constructions. She ultimately asserts that such reporting advances post-feminism, which, in tandem with banal militarism, subtly pushes military solutions for an array of problems women and girls face.