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This handbook provides an overview and synthesis of relevant literature related to the issue of the well-being of working women. This focus addresses a gap that currently exists in the quality-of-life and well-being fields. The work of the authors answers the following broad questions: Does gender matter in the well-being of working women? Do prejudices against and stereotypes of women still play a role in inter-personal interactions in the workplace that could hinder women from flourishing professionally? Does the organizational context, such as organizational culture, reward systems, and leadership, contribute to the well-being of working-women? What impact does the national context have on the well-being of working women? And finally, how can public policies help enhance the well-being of working women? These are important issues for academics, researchers, and graduate students interested in gender issues in the fields of management, sociology, psychology, social psychology, economics, and quality of life studies. Policy makers and practitioners will also find this book beneficial. Equitable treatment and outcomes for all, regardless of gender, remains a challenging goal to achieve, with various barriers in different contexts and different cultures, and this book provides strong coverage of this important topic of well-being of working women.
The Routledge Handbook of Women’s Work in Music presents a unique collection of core research by academics and music practitioners from around the world, engaging with an extraordinarily wide range of topics on women’s contributions to Western and Eastern art music, popular music, world music, music education, ethnomusicology as well as in the music industries. The handbook falls into six parts. Part I serves as an introduction to the rich variety of subject matter the reader can expect to encounter in the handbook as a whole. Part II focuses on what might be termed the more traditional strand of feminist musicology – research which highlights the work of historical and/or neglected composers. Part III explores topics concerned with feminist aesthetics and music creation and Part IV focuses on questions addressing the performance and reception of music and musicians. The narrative of the handbook shifts in Part V to focus on opportunities and leadership in the music professions from a Western perspective. The final section of the handbook (Part VI) provides new frames of context for women’s positions as workers, educators, patrons, activists and promoters of music. This is a key reference work for advanced undergraduates, postgraduates and researchers in music and gender.