A SCHOLARLY BOOK REPOSITORY115 start with P start with P
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.
Focusing on the community of Orangeburg, South Carolina, from 1880 to 1940, Parlor Ladies and Ebony Drudges explores the often sharp class divisions that developed among African African women in that small, semirural area.
Kibibi Voloria Mack’s research challenges the conventional thesis that all African American women toiled—and toiled hard—throughout their lives. She shows that this was only true if they belonged to certain socioeconomic classes. Mack finds that, in Orangeburg, a significant minority did not have to work outside the home (unless they chose to do so) and that some even had staffs of domestics to do their housework—a situation paralleling that of the town’s genteel white women. While the factors of gender and race did restrict the lives of all African American women in Jim Crow Orangeburg, Mack argues, there was no real solidarity across class lines. In fact, as she points out, tensions often arose between women of the upper classes and those of the middle and working classes.
Mack offers a rich picture of the work patterns, social lives, home lives, attitudes, and self-images of the women of each class, carefully distinguishing their differences and noting the historical changes and continuities that affected them. The book is not only an important contribution to the study of African American women in the South but also to the research on women’s work more generally: it is a vital corrective to the past emphasis on white women living in northeastern urban areas.
The Author: Kibibi Voloria C. Mack is an assistant professor in the Africana Studies Department at the University of Maryland, Baltimore County. She is a native of Orangeburg, South Carolina, and received her doctorate in history at the State University of New York, Binghamton. The mother of four daughters, she has also written several books for young people on African and African American history.
A rare exploration of African American women athletes and national identity, Passing the Baton reveals young Black women as active agents in the remaking of what it means to be American.
Passionate Journeys explores the fascinating stories behind the Bhagwan Rajneesh phenomenon of the 1970s and 1980s, focusing on women who left families, careers, and identities to join the community of Rajneeshpuram. Rajneesh was a spiritual leader for thousands of young Americans, and in rural Oregon his devotees established a thriving community. Marion S. Goldman's extensive interviews with women who participated at Rajneeshpuram provide a fascinating picture of the cultural and social climate that motivated successful, established women to join such a movement.
Passionate Journeys will appeal to specialists in feminist theory and women's studies, sociology, religious studies, American studies, and the history of the Northwest.
Marion S. Goldman is Professor of Sociology, University of Oregon. She is also the author of Gold Diggers and Silver Miners: Prostitution and Social Life on the Comstock Lode.
Two young women, dormitory mates, embark on their education at a big state university. Five years later, one is earning a good salary at a prestigious accounting firm. With no loans to repay, she lives in a fashionable apartment with her fiancé. The other woman, saddled with burdensome debt and a low GPA, is still struggling to finish her degree in tourism. In an era of skyrocketing tuition and mounting concern over whether college is "worth it," Paying for the Party is an indispensable contribution to the dialogue assessing the state of American higher education. A powerful exposé of unmet obligations and misplaced priorities, it explains in vivid detail why so many leave college with so little to show for it.
Drawing on findings from a five-year interview study, Elizabeth Armstrong and Laura Hamilton bring us to the campus of "MU," a flagship Midwestern public university, where we follow a group of women drawn into a culture of status seeking and sororities. Mapping different pathways available to MU students, the authors demonstrate that the most well-resourced and seductive route is a "party pathway" anchored in the Greek system and facilitated by the administration. This pathway exerts influence over the academic and social experiences of all students, and while it benefits the affluent and well-connected, Armstrong and Hamilton make clear how it seriously disadvantages the majority.
Eye-opening and provocative, Paying for the Party reveals how outcomes can differ so dramatically for those whom universities enroll.
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.
The idea that gender is a performance—a tenet of queer feminist theory since the nineties—has spread from college classrooms to popular culture. This transformative concept has sparked reappraisals of social expectations as well as debate over not just gender, but sex: what it is, what it means, and how we know it. Most scientific and biomedical research over the past seventy years has assumed and reinforced a binary concept of biological sex, though some scientists point out that male and female are just two outcomes in a world rich in sexual diversity.
In Performance All the Way Down, MacArthur Fellow and Pulitzer Prize finalist Richard O. Prum brings feminist thought into conversation with biology, arguing that the sexual binary is not essential to human genes, chromosomes, or embryos. Our genomes are not blueprints, algorithms, or recipes for the physical representation of our individual sexual essences or fates. In accessible language, Prum shows that when we look closely at the science, we see that gene expression is a material action in the world, a performance through which the individual regulates and achieves its own becoming. A fertilized zygote matures into an organism with tissues and organs, neurological control, immune defenses, psychological mechanisms, and gender and sexual behavior through a performative continuum. This complex hierarchy of self-enactment reflects the evolved agency of individual genes, molecules, cells, and tissues.
Rejecting the notion of an intractable divide between the humanities and the sciences, Prum proves that the contributions of queer and feminist theorists can help scientists understand the human body in new ways, yielding key insights into genetics, developmental biology, physiology. Sure to inspire discussion, Performance All the Way Down is a book about biology for feminists, a book about feminist theory for biologists, and a book for anyone curious about how our sexual bodies grow.
Alcalde draws on interviews, surveys, participant observation, and textual analysis to argue that to belong is to exclude. To that end, transnational Peruvians engage in both subtle and direct policing along the borders of belonging. These acts allow them to claim and maintain the social status they enjoyed in their homeland even as they profess their openness and tolerance. Alcalde details these processes and their origins in Peru's gender, racial, and class hierarchies. As she shows, the idea of return—whether desired or rejected, imagined or physical—spurs constructions of Peruvianness, belonging, and home.
Deeply researched and theoretically daring, Peruvian Lives across Borders answers fascinating questions about an understudied group of migrants.
In Peruvian Street Lives, Seligmann argues that the sometimes invisible and informal economic, social, and political networks market women establish may appear disorderly and chaotic, but in fact often keep dysfunctional economies and corrupt bureaucracies from utterly destroying the ability of citizens to survive from day to day. Seligmann asks why the constructive efforts of market women to make a living provoke such negative social perceptions from some members of Peruvian society, who see them as symbols and actual catalysts of social disorder. At the same time, Seligmann shows how market women eke out a living, combat discrimination, and transgress racial and gender ideologies within the rich and expressive cultural traditions they have developed.
For as long as women have battled for equitable political representation in America, those battles have been defined by images—whether illustrations, engravings, photographs, or colorful chromolithograph posters. Some of these pictures have been flattering, many have been condescending, and others downright incendiary. They have drawn upon prevailing cultural ideas of women’s perceived roles and abilities and often have been circulated with pointedly political objectives.
Picturing Political Power offers perhaps the most comprehensive analysis yet of the connection between images, gender, and power. In this examination of the fights that led to the ratification of the Nineteenth Amendment in 1920, Allison K. Lange explores how suffragists pioneered one of the first extensive visual campaigns in modern American history. She shows how pictures, from early engravings and photographs to colorful posters, proved central to suffragists’ efforts to change expectations for women, fighting back against the accepted norms of their times. In seeking to transform notions of womanhood and win the right to vote, white suffragists emphasized the compatibility of voting and motherhood, while Sojourner Truth and other leading suffragists of color employed pictures to secure respect and authority. Picturing Political Power demonstrates the centrality of visual politics to American women’s campaigns throughout the nineteenth and early twentieth centuries, revealing the power of images to change history.
Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred.
In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to anthropology, Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies.
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)
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.
Who says you can’t be pious and fashionable? Throughout the Muslim world, women have found creative ways of expressing their personality through the way they dress. Headscarves can be modest or bold, while brand-name clothing and accessories are part of a multimillion-dollar ready-to-wear industry that caters to pious fashion from head to toe. In this lively snapshot, Liz Bucar takes us to Iran, Turkey, and Indonesia and finds a dynamic world of fashion, faith, and style.
“Brings out both the sensuality and pleasure of sartorial experimentation.”
—Times Literary Supplement
“I defy anyone not to be beguiled by [Bucar’s] generous-hearted yet penetrating observation of pious fashion in Indonesia, Turkey and Iran… Bucar uses interviews with consumers, designers, retailers and journalists…to examine the presumptions that modest dressing can’t be fashionable, and fashion can’t be faithful.”
—Times Higher Education
“Bucar disabuses readers of any preconceived ideas that women who adhere to an aesthetic of modesty are unfashionable or frumpy.”
—Robin Givhan, Washington Post
“A smart, eye-opening guide to the creative sartorial practices of young Muslim women… Bucar’s lively narrative illuminates fashion choices, moral aspirations, and social struggles that will unsettle those who prefer to stereotype than inform themselves about women’s everyday lives in the fast-changing, diverse societies that constitute the Muslim world.”
—Lila Abu-Lughod, author of Do Muslim Women Need Saving?
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.
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.
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.
Chile has made a public commitment to equality between women and men through the creation of a National Women’s Service, SERNAM. Yet, indigenous Mapuche women and working-class pobladora activists assert that they have been excluded from programs implemented by SERNAM. Decisions about what constitutes "women’s interests" are usually made by middle class, educated, lighter-skinned women, and the priorities and concerns of poor, working-class, and indigenous women have not come to the fore.
Through critical analysis of the role of the state, the diversity of women’s movements, and the social and political position of indigenous peoples in Latin America, Richards provides an illuminating discussion of the ways in which the state defines women’s interests and constructs women’s citizenship. This book makes important contributions to feminist studies, theories of citizenship, and studies of the intersections of class, gender, and race.
From Audre Lorde, Ntozake Shange, and Bessie Head, to Zanele Muholi, Suzan-Lori Parks, and Missy Elliott, Black women writers and artists across the African Diaspora have developed nuanced and complex creative forms. Mecca Jamilah Sullivan ventures into the unexplored spaces of black women’s queer creative theorizing to learn its languages and read the textures of its forms. Moving beyond fixed notions, Sullivan points to a space of queer imagination where black women invent new languages, spaces, and genres to speak the many names of difference. Black women’s literary cultures have long theorized the complexities surrounding nation and class, the indeterminacy of gender and race, and the multiple meanings of sexuality. Yet their ideas and work remain obscure in the face of indifference from Western scholarship.
Innovative and timely, The Poetics of Difference illuminates understudied queer contours of black women’s writing.
Engaging the works of critics such as Chandra Mohanty, Barbara Harlow, Claribel Alegria, Albie Sachs, and Audre Lorde, among others, Mary DeShazer reconceptualizes traditional notions of resistance and literature and the relationship between them. She argues that women’s voices have been underrepresented in previous analyses of Third World resistance poetry, and that when examined collectively, their work reveals overtly gendered concerns that distinguish it from that of their male counterparts.
DeShazer defines resistance as an active quest for justice and a means of collective empowerment. She looks at the diasporic consciousness of exiled and dislocated women, examines the tensions between claims of identity and claims of difference, and explores the ways in which gender and struggle connect women across nationalities and historical imperatives. Her analysis of Salvadoran and South African women’s poetry reveal the ways in which poetic conventions can be seen as “political declarations of privilege,” casting a new light on women’s resistance poetry in the United States.
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.
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.
A searing study of how modern reproductive politics shapes women's bodily agency
Pregnancy indisputably takes place within a woman's body. But as reproductive power finds its way into the hands of medical professionals, lobbyists, and policymakers, the geographies of pregnancy are shifting, and the boundaries need to be redrawn, argues Laura R. Woliver. The Political Geographies of Pregnancy is a vigorous analysis of the ways modern reproductive politics are shaped by long-standing debates on abortion and adoption, surrogacy arrangements, new reproductive technologies, medical surveillance, and the mapping of the human genome.
Across a politically charged backdrop of reproductive issues, Woliver exposes strategies that claim to uphold the best interests of children, families, and women but in reality complicate women's struggles to have control over their own bodies. Utilizing feminist standpoint theory and promoting a feminist ethic of care, Woliver looks at abortion politics, modern adoption laws that cater to male-headed families, regulations that allow the state to monitor pregnant women but not always provide care for them, and the power structures behind the seemingly benign world of egg-selling and surrogate parenting. She also considers the potentially staggering political implications of mapping the human genome, and the exclusion of women's perspectives in discussions about legislation and advancements in reproductive technologies.
-- J'nana Morse Sellery, coauthor of Elizabeth Bowen: A Bibliography
After the fall of the state socialist regime and the end of martial law in 1989, Polish society experienced both a sense of relief from the tyranny of Soviet control and an expectation that democracy would bring freedom. After this initial wave of enthusiasm, however, political forces that had lain concealed during the state socialist era began to emerge and establish a new religious-nationalist orthodoxy. While Solidarity garnered most of the credit for democratization in Poland, it had worked quietly with the Catholic Church, to which a large majority of Poles at least nominally adhered. As the church emerged as a political force in the Polish Sejm and Senate, it precipitated a rapid erosion of women’s reproductive rights, especially the right to abortion, which had been relatively well established under the former regime.
The Politics of Morality is an anthropological study of this expansion of power by the religious right and its effects on individual rights and social mores. It explores the contradictions of postsocialist democratization in Poland: an emerging democracy on one hand, and a declining tolerance for reproductive rights, women’s rights, and political and religious pluralism on the other. Yet, as this thoroughly researched study shows, women resist these strictures by pursuing abortion illegally, defying religious prohibitions on contraception, and organizing into advocacy groups. As struggles around reproductive rights continue in Poland, these resistances and unofficial practices reveal the sharp limits of religious form of governance.
The Politics of State Feminism addresses essential questions of women's movement activism and political change in western democracies. The authors—top gender and politics scholars—provide a comparative analysis of the effectiveness of government agencies and women's movements regarding women’s policy issues—if, how, and why they form a kind of state feminism.
The central research questions are examined across five issue areas in thirteen postindustrial democracies in Europe and North America from the 1960s through the early 2000s. The authors explore a range of topics drawn from contemporary theory, interactions between descriptive and substantive representation, and the place of institutions in democratic change.
Using the innovative qualitative and quantitative methods employed by the Research Network on Gender Politics and the State, the authors have developed a new body of theories about the role of state feminism and how it can help further women’s rights.
Is it possible to simultaneously belong to and be exiled from a community? In Politics of the Female Body, Ketu H. Katrak argues that it is not only possible, but common, especially for women who have been subjects of colonial empires.
Through her careful analysis of postcolonial literary texts, Katrak uncovers the ways that the female body becomes a site of both oppression and resistance. She examines writers working in the English language, including Anita Desai from India, Ama Ata Aidoo from Ghana, and Merle Hodge from Trinidad, among others. The writers share colonial histories, a sense of solidarity, and resistance strategies in the on-going struggles of decolonization that center on the body.
Bringing together a rich selection of primary texts, Katrak examines published novels, poems, stories, and essays, as well as activist materials, oral histories, and pamphlets—forms that push against the boundaries of what is considered strictly literary. In these varied materials, she reveals common political and feminist alliances across geographic boundaries.
A unique comparative look at women’s literary work and its relationship to the body in third world societies, this text will be of interest to literary scholars and to those working in the fields of postcolonial studies and women’s studies.
Monterrey is Mexico’s second most important industrial city, emerging in this era of free trade as a cornerstone of Mexico’s economic development. But development has been uneven and has taken a toll: As recently as the early 1980s, nearly a quarter of the city’s almost three million inhabitants did not have running water in their homes. At the same time, heavy industry - especially steel, iron, chemical, and paper works - were major users of water in their production processes.
Extensive industrialization coupled with a lack of infrastructure development astonishing in a major industrial city raises serious questions about the process of planning urban services in Mexico. Bennett uses the water crisis of the 1980s as a lens through which to reveal this planning process and the provision of public services in Monterrey. She finds three groups who were central to the evolution of the city’s water system: federal and state government leaders, the regional private sector elite (the Grupo Monterrey), and women living in the low-income neighborhoods of the city.
Bennett unravels the politics of water in Monterrey by following three threads of inquiry. First, she examines the water services themselves - what was built, when, why, and who paid for them. She then reveals the response of poor women to the water crisis, analyzing who participated in protests, the strategies they used, and how the government responded. And, finally, she considers the dynamics of planning water services for the private sector and the government in investment and management. In the end, Monterrey’s water services improved because power relations shifted and because poor women in Monterrey used protests to make national news out of the city’s water crisis.
The Politics of Water makes a significant contribution to the emerging scholarship on regional politics in Mexico and to a deeper understanding of the Monterrey region in particular. Until recently, most scholarly writing on Mexico spoke of the national political system as a monolithic whole. Scholars such as Vivienne Bennett are now recognizing the power of local citizens and the significant differences among regions when it comes to politics, policy making, and governmental investment decisions.
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.
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.
Drawing on archival research and interviews with Rama Rau, historian Antoinette Burton opens Rama Rau’s career into an examination of orientalism in the postwar United States, the changing idioms of cosmopolitanism in the postcolonial era, and the afterlife of British colonialism in the American public sphere. Burton describes how Rama Rau’s career was shaped by gendered perceptions of India and “the East” as well as by the shifting relationships between the United States, India, Pakistan, and Great Britain during the Cold War. Exploring how Rama Rau positioned herself as an expert on both India and the British empire, Burton analyzes the correspondence between Rama Rau and her Time-Life editors over the contents of her book The Cooking of India (1969), and Rama Rau’s theatrical adaptation of E. M. Forster’s A Passage to India, which played on Broadway in 1961 and was the basis for David Lean’s 1985 film. Burton assesses the critical reception of Rama Rau’s play as well as her correspondence with Forster and Lean.
Contributors
Helen Appleton
Karen Bäckstrand
Lucille H. Brockway
Stephen B. Brush
Judith Carney
Committee on Women, Population, and the Environment
Arturo Escobar
Maria E. Fernandez
Ward H. Goodenough
Susantha Goonatilake
Sandra Harding
Steven J. Harris
Betsy Hartmann
Cori Hayden
Catherine L. M. Hill
John M. Hobson
Peter Mühlhäusler
Catherine A. Odora Hoppers
Consuelo Quiroz
Jenny Reardon
Ella Reitsma
Ziauddin Sardar
Daniel Sarewitz
Londa Schiebinger
Catherine V. Scott
Colin Scott
Mary Terrall
D. Michael Warren
Women’s status in rural Java can appear contradictory to those both inside and outside the culture. In some ways, women have high status and broad access to resources, but other situations suggest that Javanese women lack real power and autonomy. Javanese women have major responsibilities in supporting their families and controlling household finances. They may also own and manage their own property. Yet these symbols and potential sources of independence and influence are determined by a culturally prescribed, state-reinforced, patriarchal gender ideology that limits women’s autonomy. Power, Change, and Gender Relations in Rural Java examines this contradiction as well as sources of stability and change in contemporary Javanese gender relations.
The authors conducted their research in two rural villages in Yogyakarta, Indonesia, during three important historical and political periods: the end of the New Order regime; the transitional period of reformation; and the subsequent establishment of a democratic government. Their collaboration brings a unique perspective, analyzing how gender is constructed and reproduced and how power is exercised as Indonesia faces the challenges of building a new social order.
Combining theory, criticism, and narrative nonfiction, Carrillo Rowe develops a politics of relation that encourages the formation of feminist alliances across racial and other boundaries within academia. Such a politics of relation is founded on her belief that our subjectivities emerge in community; our affective investments inform and even create our political investments. Thus experience, consciousness, and agency must be understood as coalitional rather than individual endeavors. Carrillo Rowe’s conversations with academic feminists reveal that women who restrict their primary allies to women of their same race tend to have limited notions of feminism, whereas women who build transracial alliances cultivate more nuanced, intersectional, and politically transformative feminisms. For Carrillo Rowe, the institutionalization of feminism is not so much an achievement as an ongoing relational process. In Power Lines, she offers a set of critical, practical, and theoretical tools for building and maintaining transracial feminist alliances.
In the last several decades, U.S. women’s history has come of age. Not only have historians challenged the national narrative on the basis of their rich explorations of the personal, the social, the economic, and the political, but they have also entered into dialogues with each other over the meaning of women’s history itself.
In this collection of seventeen original essays on women’s lives from the colonial period to the present, contributors take the competing forces of race, gender, class, sexuality, religion, and region into account. Among many other examples, they examine how conceptions of gender shaped government officials’ attitudes towards East Asian immigrants; how race and gender inequality pervaded the welfare state; and how color and class shaped Mexican American women’s mobilization for civil and labor rights.
The site of the study—Kansas City, Missouri—reflects the diverse rhetorical experiences of girls in cities across the United States at the beginning of the last century. Four case studies examine the writing of privileged white girls at a college preparatory school, Native American girls at an off-reservation boarding school, African American girls at a segregated high school, and working- and middle-class girls at a large whites-only public high school. Wood’s analysis reveals a contemporary concept of epideictic rhetoric that accounts for issues of gender, race, class, and age.
Sociologists Murphy and Rosenbaum interviewed over 120 women who had children while using drugs. Their interviews reveal how the women became addicted, how they may or may not have modified their behavior to protect their children, and how they have dealt with having children and losing them as a result of their addiction. Not all the women interviewed were from abusive or poor families; there is extensive information on how the study population was selected. Also included are suggestions on how to deal with the problem, including women-centered drug treatment and training programs to help women learn trades as well as parenting skills. Though the interviews are enlightening, readers may wish for more answers to the question of how to deal with the root problem and less about the problems drug-addicted mothers face. For academic libraries, especially those with women's studies and sociology collections.?Danna C. Bell-Russel, Natl. Equal Justice Lib., Washington, DC
Review
A powerful refuation of the media-hype stereotypes of pregnant drug users as selfish and unfeeling, Pregnant Women on Drugs shows the extent to which many drug-using women develop the motivation to achieve their dual goals of improving their children's health and maintaining maternal custody. -- Steven R. Kandall, M.D., F.A.A.P., and author Substance and Shadow: Women and Addiction in the United States
Research-based but intensely personal. . . You will be touched by the poignant descriptions about the real lives of pregnant women on drugs. . . Pertinent reading for researchers, clinicians, and all Americans. -- Loretta P. Finnegan, M.D., researcher and perinatal addiction specialist
Touching and informative. . . Drug-addicted women who have either been ignored or reviled are finally given voice to tell their own stories. Their sad, true, and quintessentially human experiences provide persuasive arguments for compassion and supportive approaches to the problems of substance abuse and pregnancy. -- Lynn Paltrow, civil liberties and reproductive freedom attorney
Press, Platform, Pulpit examines how early black feminism goes public by sheding new light on some of the major figures of early black feminism as well as bringing forward some lesser-known individuals who helped shape various reform movements. With a perspective unlike many other studies of black feminism, Teresa Zackodnik considers these activists as central, rather than marginal, to the politics of their day, and argues that black feminism reached critical mass well before the club movement’s national federation at the turn into the twentieth century . Throughout, she shifts the way in which major figures of early black feminism have been understood.
The first three chapters trace the varied speaking styles and appeals of black women in the church, abolition, and women’s rights, highlighting audience and location as mediating factors in the public address and politics of figures such as Jarena Lee, Zilpha Elaw, Amanda Berry Smith, Ellen Craft, Sarah Parker Remond and Sojourner Truth. The next chapter focuses on Ida B. Wells’s anti-lynching tours as working within “New Abolition” and influenced by black feminists before her. The final chapter examines feminist black nationalism as it developed in the periodical press by considering Maria Stewart’s social and feminist gospel; Mary Shadd Cary’s linking of abolition, emigration, and woman suffrage; and late-nineteenth-century black feminist journalism addressing black women’s migration and labor. Early black feminists working in reforms such as abolition and women’s rights opened new public arenas, such as the press, to the voices of black women. The book concludes by focusing on the 1891 National Council of Women, Frances Harper, and Anna Julia Cooper, which together mark a generational shift in black feminism, and by exploring the possibilities of taking black feminism public through forging coalitions among women of color.
Press, Platform, Pulpit goes far in deepening our understanding of early black feminism, its position in reform, and the varied publics it created for its politics. It not only moves historically from black feminist work in the church early in the nineteenth century to black feminism in the press at its close, but also explores the connections between black feminist politics across the century and specific reforms.
The courageous and inspiring personal narratives and empirical studies in Presumed Incompetent II: Race, Class, Power, and Resistance of Women in Academia name formidable obstacles and systemic biases that all women faculty—from diverse intersectional and transnational identities and from tenure track, terminal contract, and administrative positions—encounter in their higher education careers. They provide practical, specific, and insightful guidance to fight back, prevail, and thrive in challenging work environments. This new volume comes at a crucial historical moment as the United States grapples with a resurgence of white supremacy and misogyny at the forefront of our social and political dialogues that continue to permeate the academic world.
Contributors: Marcia Allen Owens, Sarah Amira de la Garza, Sahar Aziz, Jacquelyn Bridgeman, Jamiella Brooks, Lolita Buckner Inniss, Kim Case, Donna Castaneda, Julia Chang, Meredith Clark, Meera Deo, Penelope Espinoza, Yvette Flores, Lynn Fujiwara, Jennifer Gomez, Angela Harris, Dorothy Hines, Rachelle Joplin, Jessica Lavariega Monforti, Cynthia Lee, Yessenia Manzo, Melissa Michelson, Susie E. Nam, Yolanda Flores Niemann, Jodi O’Brien, Amelia Ortega, Laura Padilla, Grace Park, Stacey Patton, Desdamona Rios, Melissa Michal Slocum, Nellie Tran, Rachel Tudor, Pamela Tywman Hoff, Adrien Wing, Jemimah Li Young
—Linda Mizejewski, author of Pretty/Funny: Women Comedians and Body Politics and Ziegfeld Girl
From the 1890s through the 1920s, vaudeville reigned as one of the most popular entertainment forms in urban America. Through drama, humor, and satire, it invited its socially, economically, and ethnically diverse audiences to turn a self-conscious eye upon themselves and their culture, which was being rapidly transformed by such forces as immigration, racial discord, and new conceptions of gender roles. It was no coincidence that acts featuring cross-dressing performers and racial impersonators were among vaudeville’s biggest attractions.
In this lively and enlightening study, Kathleen B. Casey explores the ways in which the gender- and race-bending spectacles of vaudeville dramatized the economic, technological, social, and cultural upheaval that gripped the United States in the early twentieth century. She focuses on four key performers. Eva Tanguay, known as “The I Don’t Care Girl,” was loved for her defiance of Victorian decorum, linking white womanliness to animalistic savagery at a time when racial and gender ideologies were undergoing significant reconstruction. In contrast, Julian Eltinge, the era’s foremost female impersonator, used race to exaggerate notions of manliness
and femininity in a way that reinforced traditional norms more than it undermined them. Lillyn Brown, a biracial woman who portrayed a cosmopolitan black male dandy while singing about an antebellum southern past, offered her audiences, black and white, starkly different visual and aural messages about race and gender. Finally, Sophie Tucker, who often performed in blackface during the early years of her long and heralded career, strategically played with prevailing
ideologies by alternately portraying herself as white, Jewish, black, manly, and womanly, while managing, remarkably, to convince audiences that these identities could coexist within one body.
Analyzing a wide assortment of primary materials—advertisements, recordings, lyrics, sheet music, costumes, photographs, reviews, and press accounts from the era—Casey looks not only at gender and racial impersonation but also at how spectators reacted to these performances.
Kathleen B. Casey is an assistant professor of history at Virginia Wesleyan College.
Pretty in Punk combines autobiography, interviews, and sophisticated analysis to create the first insider’s examination of the ways punk girls resist gender roles and create strong identities.
Why would an articulate, intelligent, thoughtful young women shave off most of her hair, dye the remainder green, shape it into a mohawk, and glue it onto her head? What attracts girls to male-dominated youth subcultures like the punk movement? What role does the subculture play in their perceptions of themselves, and in their self-esteem? How do girls reconcile a subcultural identity that is deliberately coded “masculine” with the demands of femininity?
Research has focused on the ways media and cultural messages victimize young women, but little attention has been paid to the ways they resist these messages. In Pretty in Punk, Lauraine Leblanc examines what happens when girls ignore these cultural messages, parody ideas of beauty, and refuse to play the games of teenage femininity. She explores the origins and development of the punk subculture, the processes by which girls decide to “go punk,” patterns of resistance to gender norms, and tactics girls use to deal with violence and harassment.
Pretty in Punk takes readers into the lives of girls living on the margins of contemporary culture. Drawing on interviews with 40 girls and women between the ages of 14-37, Leblanc examines the lives of her subjects, illuminating their forms of rebellion and survival. Pretty in Punk lets readers hear the voices of these women as they describe the ways their constructions of femininity—from black lipstick to slamdancing—allow them to reject damaging cultural messages and build strong identities. The price they pay for resisting femininity can be steep—girls tell of parental rejection, school expulsion, institutionalization, and harassment. Leblanc illuminates punk girls’ resistance to adversity, their triumphs over tough challenges, and their work to create individual identities in a masculine world.
Women in comedy have traditionally been pegged as either “pretty” or “funny.” Attractive actresses with good comic timing such as Katherine Hepburn, Lucille Ball, and Julia Roberts have always gotten plum roles as the heroines of romantic comedies and television sitcoms. But fewer women who write and perform their own comedy have become stars, and, most often, they’ve been successful because they were willing to be funny-looking, from Fanny Brice and Phyllis Diller to Lily Tomlin and Carol Burnett. In this pretty-versus-funny history, women writer-comedians—no matter what they look like—have ended up on the other side of “pretty,” enabling them to make it the topic and butt of the joke, the ideal that is exposed as funny.
Pretty/Funny focuses on Kathy Griffin, Tina Fey, Sarah Silverman, Margaret Cho, Wanda Sykes, and Ellen DeGeneres, the groundbreaking women comics who flout the pretty-versus-funny dynamic by targeting glamour, postfeminist girliness, the Hollywood A-list, and feminine whiteness with their wit and biting satire. Linda Mizejewski demonstrates that while these comics don’t all identify as feminists or take politically correct positions, their work on gender, sexuality, and race has a political impact. The first major study of women and humor in twenty years, Pretty/Funny makes a convincing case that women’s comedy has become a prime site for feminism to speak, talk back, and be contested in the twenty-first century.
Chapter by chapter, the book analyzes the stars' best-known and best-loved roles, including Martin as Nellie in South Pacific, Merman as Momma Rose in GypsyAndrews as Eliza in My Fair Lady and Guinevere in Camelot, and Streisand as Fanny Brice in Funny Girl. The final chapter scrutinizes the Broadway and film versions of The Sound of Music, illuminating its place in the hearts of lesbian spectators and the "delicious queerness" of Andrews's troublesome nun. As the first feminist and lesbian study of the American Broadway musical, A Problem Like Maria is a groundbreaking contribution to feminist studies, queer studies, and American studies and a delight for fans of musical theater.
Stacy Wolf is Associate Professor of Theatre and Dance, University of Texas, Austin.
Zipf focuses on five gifted women in various parts of the country. In San Diego, Hazel Wood Waterman parlayed her Arts and Crafts training into a career in architecture. Cincinnati's Mary Louise McLaughlin expanded on her interest in Arts and Crafts pottery by inventing new ceramic technology.
New York's Candace Wheeler established four businesses that used Arts and Crafts production to help other women earn a living. In Syracuse, both Adelaide Alsop Robineau and Irene Sargent were responsible for disseminating Arts and Crafts-related information through the movement's publications. Each woman's story is different, but each played an important part in the creation of professional opportunities for women in a male-dominated society.
<i>Professional Pursuits</i> will be of interest to scholars and students of material culture and of the Arts and Crafts movement. More importantly, it chronicles a very significant, little-understood aspect of the development of Victorian capitalism: the integration of women into the professional workforce.
Catherine Zipf is an assistant professor in the Department of Cultural and Historic Preservation at Salve Regina University. She has published articles in <i>Women's Art News</i> and the <i>Journal of the Society of Architectural Historians</i>.
A revealing oral history collection, Profiles in Diversity contains in-depth interviews of twenty-six women in South Africa from different racial, class, and age backgrounds. Conducted in Johannesburg, Pretoria, Bloemfontein, Vryburg, Cape Town, Port Elizabeth, Grahamstown, Durban, and a rural section of Kwa-Zulu Natal, these life histories encompass diverse experiences ranging from a squatter in a township outside Cape Town to an ANC activist in Port Elizabeth, who lost three sons to the struggle for democracy and who herself was imprisoned several times during what many in South Africa now refer to as the "civil war."
Nearly all of these women describe their formative years spent growing up in South Africa's segregated society. Three young black students discuss the hardships they experienced in an unequal educational system as well as aspects of segregation in their childhood. They are joined in their memories and hopes for the future by two mature women—one now a high court judge in Durban and the other a linguist at the University of South Africa in Pretoria—both of whom studied at Harvard in the United States. Nancy Charton, the first woman ordained as an Anglican priest in South Africa, speaks about her past and what led her, in her early seventies, to a vocation in the church.
Three Afrikaner women, including one in her late twenties, speak about growing up in South Africa and articulate their concerns for a future that, in some respects, differs from the predictions of their English-speaking or black sisters. Two now-deceased members of the South African Communist Party provide disparate accounts of what led them to lives of active opposition to the discrimination that marked the lives of people of color, long before apartheid became embedded in South Africa's legal system. Also included is an account by Dr. Goonam, an Indian woman who grew up in relative comfort in the then province of Natal, while Ray Alexander discusses how she witnessed the tyranny visited on the Jews of her native Latvia before immigrating to the Cape.
Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including Mrs. Dalloway, The Well of Loneliness, Bend It Like Beckham, and Children of Men, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy.
Chubin brings attention to the varying class, ethnic, religious, and national identities of NGO staff and clients that shaped their differing understandings of oppression and justice. Her examination of the tensions within the organization reveals why the efforts of the NGO workers failed to gain purchase among the intended beneficiaries.
Proper Women concludes by encouraging feminist activists to not only examine the role of local politics and transnational connections in shaping their definitions of empowerment, but also consider the advantages of a justice-enhancing practice as opposed to justice monism for their target populations.
In nineteenth-century America, many black women left their homes, their husbands, and their children to spread the Word of God. Descendants of slaves or former “slave girls” themselves, they traveled all over the country, even abroad, preaching to audiences composed of various races, denominations, sexes, and classes, offering their own interpretations of the Bible. When they were denied the pulpit because of their sex, they preached in tents, bush clearings, meeting halls, private homes, and other spaces. They dealt with domestic ideologies that positioned them as subservient in the home, and with racist ideologies that positioned them as naturally inferior to whites. They also faced legalities restricting blacks socially and physically and the socioeconomic reality of often being part of a large body of unskilled laborers.
Jarena Lee, Julia Foote, Maria Stewart, and Frances Gaudet were four women preachers who endured such hardships because of their religious convictions. Often quoting from the scripture, they insisted that they were indeed prophesying daughters whom God called upon to preach. Significantly, many of these women preachers wrote autobiographies in which they present images of assertive, progressive, pious women—steadfast and unmovable in their religious beliefs and bold in voicing their concerns about the moral standing of their race and society at large.
Chanta M. Haywood examines these autobiographies to provide new insight into the nature of prophesying, offering an alternative approach to literature with strong religious imagery. She analyzes how these four women employed rhetorical and political devices in their narratives, using religious discourse to deconstruct race, class, and gender issues of the nineteenth century.
By exploring how religious beliefs become an avenue for creating alternative ideologies, Prophesying Daughters will appeal to students and scholars of African American literature, women’s studies, and religious studies.
A focus on the representation of everyday life in women’s prose reveals that a first generation of female writers (Natal’ia Baranskaia, Irina Grekova) both legitimated and limited their successors (Liudmila Petrushevskaia, Tat’iana Tolstaia, Liudmila Ulitskaia, and Svetlana Vasilenko) in their choice of literary topics. The Prose of Life traces the development, and intriguing ruptures, of recent Russian women’s prose, becoming a must-read for readers interested in Russian literature and gender studies.
2009 Outstanding Academic Title, Choice Magazine
Prostitutes and Courtesans in the Ancient World explores the implications of sex-for-pay across a broad span of time, from ancient Mesopotamia to the early Christian period. In ancient times, although they were socially marginal, prostitutes connected with almost every aspect of daily life. They sat in brothels and walked the streets; they paid taxes and set up dedications in religious sanctuaries; they appeared as characters—sometimes admirable, sometimes despicable—on the comic stage and in the law courts; they lived lavishly, consorting with famous poets and politicians; and they participated in otherwise all-male banquets and drinking parties, where they aroused jealousy among their anxious lovers.
The chapters in this volume examine a wide variety of genres and sources, from legal and religious tracts to the genres of lyric poetry, love elegy, and comic drama to the graffiti scrawled on the walls of ancient Pompeii. These essays reflect the variety and vitality of the debates engendered by the last three decades of research by confronting the ambiguous terms for prostitution in ancient languages, the difficulty of distinguishing the prostitute from the woman who is merely promiscuous or adulterous, the question of whether sacred or temple prostitution actually existed in the ancient Near East and Greece, and the political and social implications of literary representations of prostitutes and courtesans.
– Catharine R. Stimpson
The author has conducted an impressive amount of research in nine countries, including conversations with male and female sex tourists, adult and child prostitutes, procurers, and clients. Through her research, O'Connell Davidson demonstrates the complexity of prostitution, arguing that it is not simply an effect of male oppression and violence or insatiable sexual needs, nor is it an unproblematic economic encounter. The book provides a sophisticated explanation of the economic and political inequalities underlying prostitution, but also shows that while prostitution necessarily implies certain freedoms for the clients, the amount of freedom experienced by individual prostititutes varies greatly.
This highly accessible book will be of great interest to those in gender and women's studies, sexuality and cultural studies, the sociology of work and organizations, and social policy. General readers will also appreciate having new ways of thinking about this age-old social phenomenon.
Julia O'Connell Davidson is Lecturer in Sociology, University of Leicester.
María de Zayas is unique in the seventeenth century as the only Spanish woman to write a collection of exemplary novels whose quality is often compared to Miguel de Cervantes’ masterful works. Her two main collections of short stories, Novelas amorosas y ejemplares and Desengaños amorosos, encompass a social critique based on literary fiction that exposes flaws in the idealized archetypes of masculine identity in early modern Spain. Zayas’s stories redefine women’s patriarchal disadvantage as a tool to expose the ways in which early modern Spanish women could be empowered to counteract men’s discursive and political authority, which they use to unfairly maintain their own social privilege.
Xabier Granja Ibarreche explores how Zayas defies Spanish hegemony by manipulating and transforming the ideals of courtly masculinity that had been popularized by conduct manuals and the traits they specified for appropriate noble comportment. In doing so, Zayas elaborates a nonofficial discourse throughout plots that subvert patriarchal hierarchies: she rearticulates the existing ideological order to empower women who are no longer willing to remain silent and oppressed by masculine domination after centuries of failing to attain a sufficiently self-sufficient political position to ascend in the social hierarchy. By inverting the male gaze that assumes masculinity as a preeminent identity, Zayas subverts the patriarchal subject/masculine, object/feminine order and destabilizes manly superiority as a basic universal reality, thereby empowering and unshackling Spanish women to liberate Iberian culture from the repressive and pernicious future she forebodes.
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