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This 1997 book is a mixture of cultural and labour history which traces the role of barmaids and Australian drinking culture.
This is the first dedicated biography of the extraordinary Irish woman, Eva Gore-Booth. Gore-Booth rejected her aristocratic heritage choosing to live and work amongst the poorest classes in industrial Manchester. Her work on behalf of barmaids, circus acrobats, flower sellers and pit-brow lasses is traced in this book. During one impressive campaign Gore-Booth orchestrated the defeat of Winston Churchill. Gore-Booth published volumes of poetry, philosophical prose and plays, becoming a respected and prolific author of her time and part of W.B. Yeats’ literary circle. The story of Gore-Booth’s life is captivating. Her close bond with her sister, an iconic Irish nationalist, provides a new insight into Countess Markievicz’s personal life. Gore-Booth’s life story vividly traces her experiences of issues such as militant pacifism during the Great War, the case for the reprieve of Roger Casement’s death sentence, sexual equality in the workplace and the struggle for Irish independence.
Working Girls: Fiction, Sexuality, and Modernity investigates the significance of a new form of sexual identity at the end of the nineteenth and beginning of the twentieth century. Young women of the lower-middle and working classes were increasingly abandoning domestic service in favour of occupations of contested propriety. They inspired both moral unease and erotic fascination. Working Girls considers representations of four highly glamorised yet controversial types of women worker: telegraphists and typists (in newly-feminised offices), shop assistants (in the new department stores), and barmaids (in the new 'gin palaces' of major British cities). Economically emancipated (more or less) and liberated (more or less) from the protection and constraints of home and family, shop-girls, barmaids, typists, and telegraphists became mass media sensations. They energised a wide range of late-Victorian and Modernist fiction. This study will bring late-Victorian and Modernist British writers into intimate conversation with a substantial new archive of ephemeral sources often regarded as remote from high art and its concerns: popular fiction; music hall and musical comedy; beauty pageants and fairground exhibitions; visual art and early film; careers manuals; magazine and periodical journalism; moral reform crusades, Royal Commissions, and attempts at protective legislation. Working Girls argues that these seductive yet perilous young women helped writers negotiate anxieties about the state of literary culture in the United Kingdom. Crucially, they preoccupy novelists who were themselves beleaguered by anxieties over cultural capital, the shifting pressures of the literary marketplace, or controversies about the morality of fiction (often leading to the threat of censorship). In articulating questions about sexual integrity, Working Girls articulate often submerged questions about textual integrity and the role of the modern novel.
Back when SOS or Adam and Eve on a raft were things to order if you were hungry but a little short on time and money, nearly one-fourth of all waitresses belonged to unions. By the time their movement peaked in the 1940s and 1950s, the women had developed a distinctive form of working-class feminism, simultaneously pushing for equal rights and pay and affirming their need for special protections. Dorothy Sue Cobble shows how sexual and racial segregation persisted in wait work, but she rejects the idea that this was caused by employers' actions or the exclusionary policies of male trade unionists. Dishing It Out contends that the success of waitress unionism was due to several factors: waitresses, for the most part, had nontraditional family backgrounds, and most were primary wage-earners. Their close-knit occupational community and sex-separate union encouraged female assertiveness and a decidedly unromantic view of men and marriage. Cobble skillfully combines oral interviews and extensive archival records to show how waitresses adopted the basic tenets of male-dominated craft unions but rejected other aspects of male union culture. The result is a book that will expand our understanding of feminism and unionism by including the gender conscious perspectives of working women.