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This is a history of a stateless people, the Carpatho-Rusyns, and their historic homeland, Carpathian Rus’, located in the heart of central Europe. A little over 100,000 Carpatho-Rusyns are registered in official censuses but their population is estimated at around 1,000,000, the greater part in Ukraine and Slovakia. The majority of the diaspora—nearly 600,000—lives in the US.

At the present, when it is fashionable to speak of nationalities as “imagined communities” created by intellectuals or elites who may live in the historic homeland, Carpatho-Rusyns provide an ideal example of a people made—or some would say still being made—before our very eyes. The book traces the evolution of Carpathian Rus’ from earliest prehistoric times to the present, and the complex manner in which a distinct Carpatho-Rusyn people, since the mid-nineteenth century, came into being, disappeared, and then re-appeared in the wake of the revolutions of 1989 and the collapse of communist rule in central and eastern Europe.

To help guide the reader further there are 34 detailed maps plus an annotated discussion of relevant books, chapters, and journal articles.

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.

Women Rethinking Genres in Early Modern Europe brings together research rooted in both gender and genre as categories of analysis to illustrate how the two frameworks are inextricably linked in how we understand the experiences of European women who wrote between the fifteenth and seventeenth centuries. Rather than considering genres as prescriptive, in this collection we emphasize that genres can take different forms and are central to the ways in which authors and readers understand and perceive the world. Together, these essays in this volume demonstrate that women authors not only experimented with genres in different ways but also contributed significantly to the development and circulation of ideas in early modern Europe. This volume includes a variety of case studies from different geographical areas within Western Europe that explore the role of gender in the dissemination of genres such as dialogue, poetry, pastoral, novellas, devotional literature, epic poems, account books, scientific treatises, and fictional romances. In doing so, the essays here contribute to scholarship on marginalized and less studied aspects of early modern female culture. 

Barbara Mennel delves into the ways these films about female labor capture the tension between feminist advances and their appropriation by capitalism in a time of ongoing transformation. Looking at independent and genre films from a cross-section of European nations, Mennel sees a focus on economics and work adapted to the continent's varied kinds of capitalism and influenced by concepts in second-wave feminism. More than ever, narratives of work put female characters front and center--and female directors behind the camera. Yet her analysis shows that each film remains a complex mix of progressive and retrogressive dynamics as it addresses the changing nature of work in Europe.

Based on interviews with seventy women refugees, Women, Violence and War is a book about war as it is seen, lived and interpreted by women who were citizens of the former Yugoslavia.

Many of the accounts portray the horrific experiences the victims had to face and the book addresses issues of sexual, physical and psychological violence, as well as problems of confinement, upheaval and family separation. In a completely new insight the book dispels the myth that many of the women were peasants, and shows that in fact they were educated, middle-class women with independent careers. The study also depicts how some of the victims attempt to come to terms with the aftermath of wartime abuse.

This probing, accurate and unique investigation of victimization is an unparalleled volume that presents a completely new perspective maintaining that violence against women in war is not independent of peace-time victimization and the imbalance of power between sexes.

An urban archaeologist working anywhere in the world can imagine this scenario: armed with a small digging tool and a soft brush, the archaeologist stands at a freshly cut trench facing off a construction crew driving bulldozers. At stake is the past—the discovery and preservation of our history. Across the gap is the future—progress and new buildings for a modern world. A battle ensues. It happened in Dublin in the early 1960s.

While investigating and salvage-excavating the site for a new municipal office complex, archaeologists made one of the most important and exciting discoveries in Ireland’s history. Buried beneath the present-day city of Dublin was the original Viking settlement from the ninth or tenth century, in an extraordinary state of preservation: houses, undecayed wood, domestic furniture, jewelry, toys, tools, works of art, coins, plots, paths, a veritable map of the medieval town. Because of its impressive size and state of preservation, the site known as Wood Quay was not an “ordinary” kind of archaeological discovery, nor was the battle that followed typical.

What made Wood Quay unique was that its defender was not the archaeological authority—the National Museum of Ireland—as is usually the case, but rather a spontaneously formed movement of thousands of Dubliners. While the museum was ready to turn the site over to the city’s developers after routine salvage work had been done, a group of prominent literary and political figures seized Wood Quay, holding it for almost a month and preventing bulldozers from moving in. Realizing the significance of the find, the people of Dublin took charge and kept the builders at bay for eight years. At the same time, they were able to press the museum to return to its archaeological work there. Archaeologists ultimately were able to complete good maps of a large portion of the site and recover between one and two million artifacts.

Today, the completed Dublin civic office complex stands on the Wood Quay site, fully landscaped and without a trace of the archaeological gold mine that once lay buried below. What does remain, however, is the memory of the powerful impact the citizens of Dublin had in demanding and establishing the connection through Wood Quay to their medieval roots.

Of interest to archaeologists, historic preservationists, and city planners alike, this fascinating and beautifully written account will also engage the general reader.

Vienna appears in cinema as, among other things, a historical crossroads, a source of great music, and a site of world-famous architecture ranging from gothic cathedrals and baroque palaces to landmark modern structures. A panorama that encompasses all these perspectives, World Film Locations: Vienna sheds new light on the movies shot in the former imperial capital—and on the city itself.