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The radical comics collective World War 3 Illustrated is back and this time Shameless Feminists are wielding the pens.
Magadalena Gómez is an award-winning performance poet, playwright and theater director. Dancing in my cockroach killers, a dramatization of her poems, has been performed to critical acclaim of Off-Broadway audiences. She is the co-founder of Teatro V!da, the first Latin@ theater in Springfield, Massachusetts, and founder of the Ferocious Women's Group bringing to public view voices of women and girls through writing and performance. For ten years, Ms. Gómez performed with the late baritone saxophonist, Fred Ho, as part of the ¡Caliente! Tour.
Documents the key feminists who ignited the second wave women's movement. This work tells the stories of more than two thousand individual women and a few notable men who together reignited the women's movement and made permanent changes to entrenched customs and laws.
A funny, sexy, and wildly entertaining look at the rewards of fully realized desire in the life of one ordinary woman. At 43 years old, Pamela Madsen was happily married to the man she fell in love with at 17. She was the mother of two sons and had a successful career as a nationally known advocate for fertility issues. But she felt a growing sexual restlessness and yearning that wouldn't let up. And though Pamela loved her husband and didn't want to have an affair, she knew deep down that she needed more, much more. In Shameless, she tells the story of how she found it—and not only kept her marriage intact but made it stronger than ever. In this fearless memoir, Pamela tells the story of her search for sexual, personal, and spiritual wholeness. She explores, in riveting detail, what she experienced at the hands of sexual healers, men who brought her untold pleasure (and became her close friends in the process). But this is not just another sex book: Shameless is also an account of how Pamela's journey healed her issues with food and body image and most important, helped her weave the many roles that she played—daughter, friend, partner, mother—into one fully integrated person. It is a story about a woman falling in love with herself and a call to other women to do the same.
"Co-editors Megan Griffith-Greene and Stacey May Fowles have compiled an anthology of fearless and funny non-fiction about strong, smart and shameless young women. With wit and honesty, the writers share stories of their teen experiences (both positive and negative) on everything from pop culture to high school principals. The book is founded on Shameless magazine's tradition of smart, sassy, honest and inclusive writing that reaches out to young female readers who are often ignored by mainstream: freethinkers, queer youth, young women of colour, punk rockers, feminists, intellectuals, artists and activists."--Pub. website.
The memoir-like style of these stories allows the reader to devour private letters, peek into diaries, and listen to the most intimate confessions of women acting out sexual abandon. Seasoned editor Blank has collected only the hottest, most scintillating erotic moments by expert eroticists including Dawn OUHara, Adhara Law, Lisa Bland, and R. Gay.
What is a Canadian critical race feminism? As the contributors to this book note, the interventions of Canadian critical race feminists work to explicitly engage the Canadian state as a white settler society. The collection examines Indigenous peoples within the Canadian settler state and Indigenous women within feminism; the challenges posed by the settler state for women of colour and Indigenous women; and the possibilities and limits of an anti-colonial praxis. Critical race feminism, like critical race theory more broadly, interrogates questions about race and gender through an emancipatory lens, posing fundamental questions about the persistence if not magnification of race and the “colour line” in the twenty-first century. The writers of these articles whether exploring campus politics around issues of equity, the media’s circulation of ideas about a tolerant multicultural and feminist Canada, security practices that confine people of colour to spaces of exception, Indigenous women’s navigation of both nationalism and feminism, Western feminist responses to the War on Terror, or the new forms of whiteness that persist in ideas about a post-racial world or in transnational movements for social justice insist that we must study racialized power in all its gender and class dimensions. The contributors are all members of Researchers and Academics of Colour for Equity.
Sexual harassment is an issue in which feminists are usually thought to be on the plaintiff's side. But in 1993--amid considerable attention from the national academic community--Jane Gallop, a prominent feminist professor of literature, was accused of sexual harassment by two of her women graduate students. In Feminist Accused of Sexual Harassment, Gallop tells the story of how and why she was charged with sexual harassment and what resulted from the accusations. Weaving together memoir and theoretical reflections, Gallop uses her dramatic personal experience to offer a vivid analysis of current trends in sexual harassment policy and to pose difficult questions regarding teaching and sex, feminism and knowledge. Comparing "still new" feminism--as she first encountered it in the early 1970s--with the more established academic discipline that women's studies has become, Gallop makes a case for the intertwining of learning and pleasure. Refusing to acquiesce to an imperative of silence that surrounds such issues, Gallop acknowledges--and describes--her experiences with the eroticism of learning and teaching. She argues that antiharassment activism has turned away from the feminism that created it and suggests that accusations of harassment are taking aim at the inherent sexuality of professional and pedagogic activity rather than indicting discrimination based on gender--that antiharassment has been transformed into a sensationalist campaign against sexuality itself. Feminist Accused of Sexual Harassment offers a direct and challenging perspective on the complex and charged issues surrounding the intersection of politics, sexuality, feminism, and power. Gallop's story and her characteristically bold way of telling it will be compelling reading for anyone interested in these issues and particularly to anyone interested in the ways they pertain to the university.
Just crawling out from under the Victorian blanket, Europe was devastated by a gruesome war that consumed the flower of its youth. Tamagne examines the currents of nostalgia and yearning, euphoria, rebellion, and exploration in the post-war era, and the b"
This book re-examines feminist theory through the lens of South Asian aesthetic conventions drawn from iconography, philosophy, Indo-Islamic mystic folk traditions and poetics. It discusses alternate fluid representations of gender and intersectional identities and interrelationships in some dominant as well as non-elite Indic aesthetic traditions. The book explores pre-Vedic sculptural and Indus terracotta iconographies, the classical aesthetic philosophy of rasa, mystic folk poetry of Bhakti and Sufi movements, and ghazal and Urdu poetics to understand the political dimension of feminist theory in India as well as its implications for trans-continental feminist aesthetics across South Asia and the West. By interlinking prehistoric, classical, medieval, premodern and contemporary aesthetic and literary traditions of South Asia through a gendered perspective, the book bridges a major gap in feminist theory. An interdisciplinary work, this book will be useful for scholars and researchers of feminist theory, women’s studies, gender studies, art and aesthetics, philosophy, literature, cultural studies, queer studies, sexuality studies, political studies, sociology and South Asian studies.