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The second edition of A Woman's Dilemma: Mercy Otis Warren and the American Revolution updates Rosemarie Zagarri's biography of one of the most accomplished women of the Revolutionary era. The work places Warren into the social and political context in which she lived and examines the impact of Warren's writings on Revolutionary politics and the status of women in early America. Presents readers with an engaging and accessible historical biography of an accomplished literary and political figure of the Revolutionary era Provides an incisive narrative of the social and intellectual forces that contributed to the coming of the American Revolution Features a variety of updates, including an in-depth Bibliographical Essay, multiple illustrations, a timeline of Warren's life, and chapter-end study questions Includes expanded coverage of women during the Revolutionary Era and the Early American Republic
LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.
A controversial and eye-opening look at women's equality dispels the myth that women need government programs to protect them and shows why feminists want to keep this myth alive.
2. Redefining the New Woman, 1920-1963 Despite the fact that women's suffrage did not produce the catastrophic consequences predicted, mainstream opposition to the feminist movement refused to die, as exemplified in commentaries by industrialist Henry Ford, renowned literary figures D.H. Lawrence and Norman Mailer, and even presidential candidate Adlai Stevenson, all represented in this volume. The other selections first focus on sources published during the interwar years and indicate that the legacy of progressive social feminism exacerbated reactionary attitudes toward women in the context of postwar political fundamentalism, the Great Depression, and the New Deal. The second part contains literature that appeared between 1941 and 1963, and reflects the ambivalence and backlash toward wives and mothers in the workforce and the public sphere, driven by the social, political, and economic conservatism of the Cold War Era.
Although women in the United States have civil freedoms, equal rights in the workplace, and the full protection of law, many church leaders continue to quench the fire that burns in our sisters. We deny them equal rights to participate in the life of the church, and we slam the door on opportunities for leadership. In Women and the Church Grady takes these attitudes to task, providing answers from God’s Word that will set women free.
Now, Voyager, Stella Dallas, Leaver Her to Heaven, Imitation of Life, Mildred Pierce, Gilda…these are only a few of the hundreds of “women’s films” that poured out of Hollywood during the thirties, forties, and fifties. The films were widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream—of romance, sexuality, luxury, suffering, or even wickedness—and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman’s most important job was…to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women’s films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman’s genre—among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as “noble” as it appears. Basinger looks at the stars who played these women and helps us understand the qualities—the right off-screen personae, the right on-screen attitudes, the right faces—that made them personify the woman’s film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discusses—whether melodrama, screwball comedy, musical, film noir, western, or biopic—a woman occupies the center of her particular universe. Her story—in its endless variations of rags to riches, boy meets girl, battle of the sexes, mother love, doomed romance—inevitably sends a highly potent mixed message: Yes, you women belong in your “proper place” (that is, content with the Big Three of the women’s film world—men, marriage, and motherhood), but meanwhile, and paradoxically, see what fun, glamour, and power you can enjoy along the way. A Woman’s View deepens our understanding of the times and circumstances and attitudes out of which these movies were created.
Because sheds aren't just for men – this selection of sheds from the UK, North America and Europe shows how women everywhere can claim and use their own personal space.
New in paperback 2003. Here is a compilation of the best critical essays on this enduring classic. Selections focus on the many perspectives from which Anne of Green Gables is viewed. Is it children's literature, or does it fit a different area of literary scholarship? Each of the articles breaks new ground in the literary criticism of Montgomery's book. Also included is a comprehensive bibliographic guide to the research and criticism of Anne, from the earliest reviews to the most recent essays. Contributors: Temma R. Berg, Susan Drain, Carol Gay, Nancy Huse, Susan Jackson, Eve Kornfeld, T.D. MacLulich, Perry Nodelman, Mavis Reimer, Catherine Ross, Mary Rubio, Marilyn Solt, Gillian Thomas, Janet Weiss-Townsend, and Muriel Whitaker.