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22 DEcember 1899 Time is marching forward, carrying us over the threshold and pitching us willy nilly, into a new century. The prospect of growing up in that unexplored territory is so thrilling that I fancy, if I close my eyes tight, I can almost see the process taking place! A day slips away like sand in a sand glass and then another day dawns and so we are caught up in this inevitable passage towards 1900. I bought a journal and have begun to transfer all my scribblings of the last few days into it. I shall call it 'Twentieth Century Girl', for that is what I intend to be!
By integrating theoretical approaches to the female voice with the musicological investigation of female singers’ practices, the contributors to this volume offer fresh viewpoints on the material, symbolic and cultural aspects of the female voice in the twentieth century. Various styles and genres are covered, including Western art music, experimental composition, popular music, urban folk and jazz. The volume offers a substantial and innovative appraisal of the role of the female voice from the perspective of twentieth-century performance practices, the centrality of female singers’ experimentations and extended vocal techniques along with the process of the ‘subjectivisation’ of the voice.
Contributors consider the emergence of Latina Pentecostal clergy in the United States and the success of the Women's Missionary Union of the Southern Baptist Convention in remaining independent of male-dominated denominational structures. Among other topics, the authors discuss Chinese immigrant women who embraced the relative freedom offered by Protestant religion, African American women who assumed religious authority through their historical writing, and the struggles of women faith healers in defining their role amid medical and evangelical professionalism.
At the beginning of the twentieth century, labor leaders in women's unions routinely chastised their members for their ceaseless pursuit of fashion, avid reading of dime novels, and "affected" ways, including aristocratic airs and accents. Indeed, working women in America were eagerly participating in the burgeoning consumer culture available to them. While the leading activists, organizers, and radicals feared that consumerist tendencies made working women seem frivolous and dissuaded them from political action, these women, in fact, went on strike in very large numbers during the period, proving themselves to be politically active, astute, and effective. In Ladies of Labor, Girls of Adventure, historian Nan Enstad explores the complex relationship between consumer culture and political activism for late nineteenth- and twentieth-century working women. While consumerism did not make women into radicals, it helped shape their culture and their identities as both workers and political actors. Examining material ranging from early dime novels about ordinary women who inherit wealth or marry millionaires, to inexpensive, ready-to-wear clothing that allowed them to both deny and resist mistreatment in the workplace, Enstad analyzes how working women wove popular narratives and fashions into their developing sense of themselves as "ladies." She then provides a detailed examination of how this notion of "ladyhood" affected the great New York shirtwaist strike of 1909-1910. From the women's grievances, to the walkout of over 20,000 workers, to their style of picketing, Enstad shows how consumer culture was a central theme in this key event of labor strife. Finally, Enstad turns to the motion picture genre of female adventure serials, popular after 1912, which imbued "ladyhood" with heroines' strength, independence, and daring.
"When Jean-Luc Godard, exemplary director of the French New Wave, wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Among the greatest cinematic innovations, Godard's films shift fluidly from fiction to documentary, from criticism to art. Similarly, his persona projects shifting images - cultural hero, impassioned loner, shrewd businessman. Hailed by filmmakers as a - if not the - key influence, Godard has entered the modern canon, a figure as mysterious as he is indispensable." "In Everything is Cinema, critic Richard Brody has amassed hundreds of interviews with friends, family, and collaborators to demystify the elusive director and paint the fullest picture yet of his life and work. Paying as much attention to Godard's revolutionary technical inventions as to the political and emotional forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless and Contempt, to the grand vision of his later years. He vividly depicts Godard's wealthy, conservative family, his fluid and often disturbing politics, his tumultuous dealings with fellow filmmakers, and his troubled relations with women."--Jacket.
“An important and much-needed introduction to this rich and fast-growing field. Hershatter has handled a daunting task with aplomb.” —Susan L. Glosser, author of Chinese Visions of Family and State, 1915–1953
In this major new collection, an international team of scholars examine the relationship between the Chinese women's periodical press and global modernity in the late nineteenth and twentieth centuries. The essays in this richly illustrated volume probe the ramifications for women of two monumental developments in this period: the intensification of China's encounters with foreign powers and a media transformation comparable in its impact to the current internet age. The book offers a distinctive methodology for studying the periodical press, which is supported by the development of a bilingual database of early Chinese periodicals. Throughout the study, essays on China are punctuated by transdisciplinary reflections from scholars working on periodicals outside of the Chinese context, encouraging readers to rethink common stereotypes about lived womanhood in modern China, and to reconsider the nature of Chinese modernity in a global context.
When William Chafe's The American Woman was published in 1972, it was hailed as a breakthrough in the study of women in this century. Bella Abzug praised it as "a remarkable job of historical research," and Alice Kessler-Harris called it "an extraordinarily useful synthesis of material about 20th-century women." But much has happened in the last two decades--both in terms of scholarship, and in the lives of American women. With The Paradox of Change, Chafe builds on his classic work, taking full account of the events and scholarship of the last fifteen years, as he extends his analysis into the 1990s with the rise of feminism and the New Right. Chafe conveys all the subtleties of women's paradoxical position in the United States today, showing how women have gradually entered more fully into economic and political life, but without attaining complete social equality or economic justice. Despite the gains achieved by feminist activists during the 1970s and 1980s, the tensions continued to abound between public and private roles, and the gap separating ideals of equal opportunity from the reality of economic discrimination widened. Women may have gained some new rights in the last two decades, but the feminization of poverty has also soared, with women constituting 70% of the adult poor. Moreover, a resurgence of conservatism, symbolized by the triumph of Phyllis Schlafly's anti-ERA coalition, has cast in doubt even some of the new rights of women, such as reproductive freedom. Chafe captures these complexities and contradictions with a lively combination of representative anecdotes and archival research, all backed up by statistical studies. As in The American Woman, Chafe once again examines "woman's place" throughout the 20th century, but now with a more nuanced and inclusive approach. There are insightful portraits of the continuities of women's political activism from the Progressive era through the New Deal; of the contradictory gains and losses of the World War II years; and of the various kinds of feminism that emerged out of the tumult of the 1960s. Not least, there are narratives of all the significant struggles in which women have engaged during these last ninety years--for child care, for abortion rights, and for a chance to have both a family and a career. The Paradox of Change is a wide-ranging history of 20th-century women, thoroughly researched and incisively argued. Anyone who wants to learn more about how women have shaped, and been shaped by, modern America will have to read this book.
How They Decorated illustrates some of the great rooms of the twentieth century, whose stylish residents influence our tastes today. Gloria Vanderbilt cleverly noted, “Decorating is autobiography.” Reflecting that truism, the interiors in this book capture the individual approaches of these icons of style: Bunny Mellon’s spare all-American elegance; Hélène Rochas’s refined sophistication; Vanessa Bell’s colorful bohemianism; Mona von Bismarck’s breezy opulence; and Georgia O’Keeffe’s earthy chic. Author P. Gaye Tapp analyzes each of her subjects’ refined way of living, how she embellished her residences (or left them elegantly stark), and the long-lasting effects on today’s generation of designers and connoisseurs of beauty. The book is presented in four sections that describe the aesthetic approaches that the ladies took in decorating their abodes: “The Fashionably Chic”, “The Unconventional Eye”, “In the Grand Manner”, and “Legacy Style”. Each interior illustrates the crucial aspect of the lady’s definitive taste. Some worked closely with decorating legends such as John Fowler, Albert Hadley, Billy Baldwin, Syrie Maugham, and Jean-Michel Frank. Others took to the task of decorating single-handedly—like Pauline Trigère, Sybil Connolly, Vita Sackville-West, and Fleur Cowles. The interiors of these trendsetting ladies defied their time and inspire and delight to this day. In How They Decorated, one can learn from the most notable style muses of the last century.
Women's lives have changed dramatically over the course of the twentieth century: reduced fertility and the removal of formal barriers to their participation in education, work and public life are just some examples. At the same time, women are under-represented in many areas, are paid significantly less than men, continue to experience domestic violence and to bear the larger part of the burden in the domestic division of labour. Women in 2000 may have many more choices and opportunities than they had a hundred years ago, but genuine equality between men and women remains elusive. This unique, illustrated history discusses a wide range of topics organised into four parts: the life course - the experience of girlhood, marriage and the ageing process; the nature of women's work, both paid and unpaid; consumption, culture and transgression; and citizenship and the state.