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Examines the relationship of “woman” to issues of non-western culture.

Examines the relationship of "woman" to issues of non-Western culture: ethnic spectatorship, popular literature, the construction of literary history, and the revolutionary production and emotional reception of national literature.

Woman's Legacy: Essays on Race, Sex, and Class in American History is a groundbreaking collection of essays by prominent feminist scholar and historian Bettina Aptheker. Emerging from her dissertation research, this work examines the interconnected systems of racial, sexual, and class oppression that have shaped the experiences of women in American history. Through careful historical analysis and feminist scholarship, Aptheker explores how race, sex, and class work together to form complex systems of domination and resistance in the American historical context. The essays investigate women's community roles, activism, and agency while centering the lived experiences of women, particularly Black women, across different historical periods. This seminal work contributes to African American women's history and feminist historiography, bridging women's studies with critical analysis of historical structures and social movements. An essential text for those interested in intersectional approaches to American history and women's studies.

Maparyan organizes the contributions around five key ideas. The first section looks at womanist self-care as a life-saving strategy. The second examines healing the Earth as a prerequisite to healing ourselves. In Part Three, the essays illuminate how womanism’s politics of invitation provides a strategy for enlarging humanity’s circle of inclusion, while Part Four considers womanism as both a challenge and antidote to dehumanization. The final section delves into womanism’s potential for constructing worlds and futures. In addition, Maparyan includes a section of works by womanist visual artists.

Defiant and far-sighted, Womanism Rising takes readers on a journey into a new generation of concepts, ideas, and strategies for womanist studies.

How do students develop a personal style from their instruction in a visual arts program? Women Artists on the Leading Edge explores this question as it describes the emergence of an important group of young women artists from an innovative post-war visual arts program at Douglass College.

The women who studied with avant-garde artists at Douglas were among the first students in the nation to be introduced to performance art, conceptual art, Fluxus, and Pop Art. These young artists were among the first to experience new approaches to artmaking that rejected the predominant style of the 1950s: Abstract Expressionism. The New Art espoused by faculty including Robert Watts, Allan Kaprow, Roy Lichtenstein, Geoffrey Hendricks, and others advocated that art should be based on everyday life. The phrase “anything can be art” was frequently repeated in the creation of Happenings, multi-media installations, and video art. Experimental approaches to methods of creation using a remarkable range of materials were investigated by these young women. Interdisciplinary aspects of the Douglass curriculum became the basis for performances, videos, photography, and constructions. Sculpture was created using new technologies and industrial materials. The Douglass women artists included in this book were among the first to implement the message and direction of their instructors.

Ultimately, the artistic careers of these young women have reflected the successful interaction of students with a cutting-edge faculty. From this BA and MFA program in the Visual Arts emerged women such as Alice Aycock. Rita Myers, Joan Snyder, Mimi Smith, and Jackie Winsor, who went on to become lifelong innovators. Camaraderie was important among the Douglass art students, and many continue to be instructors within a close circle of associates from their college years. Even before the inception of the women’s art movement of the 1970s, these women students were encouraged to pursue professional careers, and to remain independent in their approach to making art. The message of the New Art was to relate one’s art production to life itself and to personal experiences. From these directions emerged a “proto-feminist” art of great originality identified with women’s issues. The legacy of these artists can be found in radical changes in art instruction since the 1950s, the promotion of non-hierarchical approaches to media, and acceptance of conceptual art as a viable art form.

Many Westerners view Islam as a religion that restricts and subordinates women in both private and public life. Yet a surprising number of women in Western Europe and America are converting to Islam. What attracts these women to a belief system that is markedly different from both Western Christianity and Western secularism? What benefits do they gain by converting, and what are the costs? How do Western women converts live their new Islamic faith, and how does their conversion affect their families and communities? How do women converts transmit Islamic values to their children? These are some of the questions that Women Embracing Islam seeks to answer.

In this vanguard study of gender and conversion to Islam, leading historians, sociologists, anthropologists, and theologians investigate why non-Muslim women in the United States, several European countries, and South Africa are converting to Islam. Drawing on extensive interviews with female converts, the authors explore the life experiences that lead Western women to adopt Islam, as well as the appeal that various forms of Islam, as well as the Nation of Islam, have for women. The authors find that while no single set of factors can explain why Western women are embracing Islamic faith traditions, some common motivations emerge. These include an attraction to Islam's high regard for family and community, its strict moral and ethical standards, and the rationality and spirituality of its theology, as well as a disillusionment with Christianity and with the unrestrained sexuality of so much of Western culture.

Winner of the the 2021 Best Edited Collection Award from BAFTSS
Winner of the 2021 British Fantasy Award in Best Non-Fiction​
​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction
Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​

“But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.”
“Women are just not that interested in making horror films.”
 
This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body.

Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.

Legends and rising stars of feminist film and video tell their stories.

Alexandra Juhasz asked twenty-one women to tell their stories-women whose names make up a who is (and who will be) who of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today.

Healing roles and rituals involving alcohol are a major source of power and identity for women and men in Highland Chiapas, Mexico, where abstention from alcohol can bring a loss of meaningful roles and of a sense of community. Yet, as in other parts of the world, alcohol use sometimes leads to abuse, whose effects must then be combated by individuals and the community.

In this pioneering ethnography, Christine Eber looks at women and drinking in the community of San Pedro Chenalhó to address the issues of women’s identities, roles, relationships, and sources of power. She explores various personal and social strategies women use to avoid problem drinking, including conversion to Protestant religions, membership in cooperatives or Catholic Action, and modification of ritual forms with substitute beverages.

The book’s women-centered perspective reveals important data on women and drinking not reported in earlier ethnographies of Highland Chiapas communities. Eber’s reflexive approach, blending the women’s stories, analyses, songs, and prayers with her own and other ethnographers’ views, shows how Western, individualistic approaches to the problems of alcohol abuse are inadequate for understanding women’s experiences with problem and ritual drinking in a non-Western culture.

In a new epilogue, Christine Eber describes how events of the last decade, including the Zapatista uprising, have strengthened women's resolve to gain greater control over their lives by controlling the effects of alcohol in the community.

In 1842, founder Joseph Smith foresaw the LDS Women's Relief Society as "a kingdom of Priests," that he "would ordain them to preside over the society...just the Presidency preside over the church." Originally, the LDS Women's Relief Society paralleled the LDS men's priesthood quorums. Women were "ordained" to various positions, as well as set apart to be healers "with power to rebuke diseases."

In the 19th-century, Mormon theology also spoke of a Mother God, having "all power and glory" with the Father in Heaven. Mormon doctrine also hinted at the divine status of Eve, Mary, and Mary Magdalene.

The 19th-century Woman's Exponent, published by the LDS Women's Relief Society, editorialized in favor of "equal rights before the law, equal pay for equal work, equal political rights." The magazine's masthead read, "The Rights of the Women of Zion and the Rights of Women of All Nations."

One Relief Society founder, Sarah Kimball, referred to herself as "a woman's rights woman," while another leader, Bathsheba Smith, was called on a Relief Society mission in 1870 to preach "woman's rights" throughout southern Utah. According to the Woman's Exponent, a woman's place was not just "in the nursery" but "in the library, the laboratory, the observatory."

Women were encouraged to pursue formal education and career opportunities, study medicine and involve themselves in politics. Mormon women were assured that "when men see that women can exist without them, it will perhaps take a little of the conceit out of some of them."

Women who served inside LDS temples were termed "priestesses," while LDS Women's Relief Society president Eliza R. Snow was known as a "prophetess." Snow discouraged women from confiding their personal issues to male bishops, saying that such matters "should be referred to the Relief Society president and her counselors."

In 1875, LDS Women's Relief Society president, Emmeline B. Wells, could say with confidence: "Let woman speak for herself; she has the right of freedom of speech. Women are too slow in moving forward, afraid of criticism, of being called unwomanly, of being thought masculine. What of it? If men are so much superior to women, the nearer we come up to the manly standard the higher we elevate ourselves."