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Few people know of Nina Allender, but they should. One of only a handful of female political cartoonists in the early twentieth century, she played a vital role in the women's suffrage movement. Unafraid to criticize powerful men and challenge the status quo, Allender was recruited by the famous activist Alice Paul to be the "official cartoonist" of The Suffragist, the weekly newspaper of the National Woman's Party. Between 1914 and 1927, Allender created nearly three hundred cartoons on suffrage and women's right. Her images of strong, confident, stylish women countered male cartoonists' portrayal of suffragists as ugly, nagging and unfeminine. Her suffragist, known as "the Allender girl," was viewed as the period's ideal of the modern female agitator. Her cartoons captured national attention and influenced public opinion, leading to passage of the 19th Amendment and full voting rights for women.
Serves to introduce the suffrage movement as a whole, as well as the associated artists and graphics.
From 1880 to 1920, the first truly national visual culture developed in the United States as a result of the completion of the Pacific Railroad. Women, especially young and beautiful ones, found new lives shaped by their participation in that visual culture. This rapidly evolving age left behind the "cult of domesticity" that reigned in the nineteenth century to give rise to new "types" of women based on a single feature--a type of hair, skin, dress, or prop--including the Gibson Girl, the sob sister, the stunt girl, the hoochy-coochy dancer, and the bearded lady. Exploring both high and low culture, from the circus and film to newspapers and magazines, this work examines depictions of women at the dawn of "mass media," depictions that would remain influential throughout the twentieth century.
“Lively and delightful...zooms in on the faces in the crowd to help us understand both the depth and the diversity of the women’s suffrage movement. Some women went to jail. Others climbed mountains. Visual artists, dancers, and journalists all played a part...Far from perfect, they used their own abilities, defects, and opportunities to build a movement that still resonates today.” —Laurel Thatcher Ulrich, author of Well-Behaved Women Seldom Make History “An intimate account of the unheralded activism that won women the right to vote, and an opportunity to celebrate a truly diverse cohort of first-wave feminist changemakers.” —Ms. “Demonstrates the steady advance of women’s suffrage while also complicating the standard portrait of it.” —New Yorker The story of how American women won the right to vote is usually told through the lives of a few iconic leaders. But movements for social change are rarely so tidy or top-heavy. Why They Marched profiles nineteen women—some famous, many unknown—who worked tirelessly out of the spotlight protesting, petitioning, and insisting on their right to full citizenship. Ware shows how women who never thought they would participate in politics took actions that were risky, sometimes quirky, and often joyous to fight for a cause that mobilized three generations of activists. The dramatic experiences of these pioneering feminists—including an African American journalist, a mountain-climbing physician, a southern novelist, a polygamous Mormon wife, and two sisters on opposite sides of the suffrage divide—resonate powerfully today, as a new generation of women demands to be heard.
DigiCat Publishing presents to you this special edition of "The Story of the Woman's Party" by Inez Haynes Gillmore. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
"For as long as American women have battled for equitable political representation, those battles have been defined by images--whether drawn, etched, photographed, or filmed. Some of these have been flattering, many of them have been condescending, and some have been scabrous. They have drawn upon prevailing cultural tropes about the perceived nature of women's roles and abilities, and they have circulated both with and without conscious political objectives. Allison K. Lange takes a systematic look at American women's efforts to control the production and dissemination of images of them in the long battle for representation, from the mid-nineteenth-century onward"--
The National Endowment for the Arts commemorates how the arts were critical to the ultimate success of the women's suffrage movement--just as they have been critical to countless social and political movements before and since. The arts--from poetry to visual arts to fashion--have a unique ability to serve as a rallying cry, disseminating messages across large audiences, and inspiring us in a way that few other things can.
Treacherous Texts collects more than sixty literary texts written by smart, savvy writers who experimented with genre, aesthetics, humor, and sex appeal in an effort to persuade American readers to support woman suffrage. Although the suffrage campaign is often associated in popular memory with oratory, this anthology affirms that suffragists recognized early on that literature could also exert a power to move readers to imagine new roles for women in the public sphere. Uncovering startling affinities between popular literature and propaganda, Treacherous Texts samples a rich, decades-long tradition of suffrage literature created by writers from diverse racial, class, and regional backgrounds. Beginning with sentimental fiction and polemic, progressing through modernist and middlebrow experiments, and concluding with post-ratification memoirs and tributes, this anthology showcases lost and neglected fiction, poetry, drama, literary journalism, and autobiography; it also samples innovative print cultural forms devised for the campaign, such as valentines, banners, and cartoons. Featured writers include canonical figures such as Stowe, Fern, Alcott, Gilman, Djuna Barnes, Marianne Moore, Millay, Sui Sin Far, and Gertrude Stein, as well as writers popular in their day but, until now, lost to ours.
At her first press conference, Eleanor Roosevelt, uncertain of her role as hostess or leader, passed a box of candied grapefruit peel to the thirty-five women journalists. Nearly sixty years later, Hillary Clinton, an accomplished professional woman and lawyer, tried to mollify her critics by handing out her chocolate-chip cookie recipe. These exchanges tells us as much about the social-and political-roles of women in America as they do about the relation of the first lady to the press and the public. Looking at the personal interaction between each first lady from Martha Washington to Laura Bush and the mass media of her day, Maurine H. Beasley traces the growth of the institution of the first lady as a part of the American political system. Her work shows how media coverage of first ladies, often limited to stereotypical ideas about women, has not adequately reflected the importance of their role.
In tracing the rise of the modern idea of the American "new woman," Lynn Dumenil examines World War I's surprising impact on women and, in turn, women's impact on the war. Telling the stories of a diverse group of women, including African Americans, dissidents, pacifists, reformers, and industrial workers, Dumenil analyzes both the roadblocks and opportunities they faced. She richly explores the ways in which women helped the United States mobilize for the largest military endeavor in the nation's history. Dumenil shows how women activists staked their claim to loyal citizenship by framing their war work as homefront volunteers, overseas nurses, factory laborers, and support personnel as "the second line of defense." But in assessing the impact of these contributions on traditional gender roles, Dumenil finds that portrayals of these new modern women did not always match with real and enduring change. Extensively researched and drawing upon popular culture sources as well as archival material, The Second Line of Defense offers a comprehensive study of American women and war and frames them in the broader context of the social, cultural, and political history of the era.