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Presumed Incompetent is a pathbreaking account of the intersecting roles of race, gender, and class in the working lives of women faculty of color. Through personal narratives and qualitative empirical studies, more than 40 authors expose the daunting challenges faced by academic women of color as they navigate the often hostile terrain of higher education, including hiring, promotion, tenure, and relations with students, colleagues, and administrators. The narratives are filled with wit, wisdom, and concrete recommendations, and provide a window into the struggles of professional women in a racially stratified but increasingly multicultural America.
The Japanese fashion designer Rei Kawakubo of Comme des Garçons is undoubtedly one of the world's major fashion designers. In 2017 she was the second living designer to ever be given a retrospective at the renowned Costume Institute of the Metropolitan Museum of Art in New York. Her work exerts an extraordinary influence over succeeding generations of designers and is a major point of reference for all those wishing to explore the place of fashion in contemporary culture. The 14 essays in this collection, written by eminent fashion theorists from around the world, ask what is the relationship of Kawakubo's work to art, philosophy and architecture, and ultimately illustrate how Kawakubo's creative output allows us to understand the very notion of fashion itself.
Just as the clothes we wear can communicate our personality and how we want to be perceived, so fashion can reflect the politics and preoccupations of the society that produced it. A Cultural History of Western Fashion guides you through the relationships between haute couture and ready-to-wear designer fashions, popular culture, big business, high-tech production, as well as traditional and social media. Exploring fashion's interdisciplinary nature, English and Munroe also highlight the parallel evolution of clothing design and the other visual arts over the last 150 years. This new edition includes expanded coverage of the build up to the First World War and brings this classic text up to date. There is also a new chapter on smart textiles and technology, exploring the work of Hussein Chalayan and Iris Van Herpen among others, and expanded coverage of the role of sustainability in the contemporary fashion industry, including biosynthetic textile production and Stella McCartney's use of vegan leather.
Men Still at Work explores the reasons why many men are continuing to work well beyond the traditional retirement age. In today’s challenging economy, they are the second-fastest growing group of workers (just behind older women). Filled with profiles of older working men, as well as dynamic interview quotes, Men Still at Work explores thorny issues such as masculinity and the “need to provide,” as well as economic issues, job satisfaction, and more.
In the United States, female seminaries and their antecedents, the female academies, were crucial first institutions that played a vital role in liberating women from the "home sphere," a locus that was the primary domain of Euro-American women. The female seminaries founded by Native Americans and African Americans had different founding rationales but also played a key role in empowering women. On the whole, the initial intent of these schools was to prepare women for their proper role in American society as wives and mothers. An unintended effect, however, was to prepare women for the first socially accepted profession for women: teaching. Thus equipped, women played a crucial role in the development of American education at all levels while achieving varying degrees of social justice for themselves and other groups through engagement in the reform movements of their times--including women's suffrage, abolition, temperance, and mental health reform. By recapturing the role religion played in shaping education for women, Welch and Ruelas offer a refreshing take on history that draws on several primary texts and details more than one hundred female seminaries and academies opened in the United States.
Transnational Cinematic & Popular Music Icons: Lena Horne, Dorothy Dandridge, & Queen Latifah, 1917-2017 centers twentieth and twenty-first century black-transnational stereotypes, celebrities, and symbols Lena Horne's, Dorothy Dandridge;s, and Queen Latifah’s transnational popular cultural struggles between domination and autonomy, with a particular emphasis on their films and popular music. Linking each performer to twentieth century U.S., African-American, and global gender histories and noting the intersections of race, gender, sexuality, class, and empire in their overlapping transnational biographies, Transnational Cinematic & Popular Music Icons: Lena Horne, Dorothy Dandridge, & Queen Latifah, 1917-2017 connects Horne, Dandridge, and Latifah to each other and legacies of Hollywood stereotypes and popular music’s internationally-routed politics. Through a close reading of Horne's, Dandridge's, and Latifah’s films and popular music, the performers tie to historic black-transnational caricatures, from the “tragic mulatto” to Sapphire, Mammy, and Jezebel, and additional, non-white female performers, from Josephine Baker to Halle Berry, maneuvering within transnational popular culture industrial matrices and against white supremacist and hetero-patriarchal forces.
Peterson's Graduate & Professional Programs: An Overview 2014 contains more than 2,250 university/college profiles that offer valuable information on graduate and professional degrees and certificates, enrollment figures, tuition, financial support, housing, faculty, research affiliations, library facilities, and contact information. This graduate guide enables students to explore program listings by field and by institution. Two-page in-depth descriptions, written by administrators at featured institutions, give complete details on the graduate study available. Readers will benefit from the expert advice on the admissions process, financial support, and accrediting agencies.
In Among Women across Worlds, Suzy Kim explores the transnational connections between North Korean women and the global women's movement. Asian women, especially communists, are often depicted as victims of a patriarchal state. Kim challenges this view through extensive archival research, revealing that North Korean women asserted themselves from the late 1940s to 1975, before the Korean War began and up to the UN's International Women's Year. Kim centers on North Korea and the "East" to present a new genealogy of the global women's movement. Women of the Korean Democratic Women's Union (KDWU), part of the global left women's movement led by the Women's International Democratic Federation (WIDF), argued that family and domestic issues should be central to both national and international debates. They highlighted the connections between race, nationality, sex, and class in systems of exploitation. Their intersectional program proclaimed "no peace without justice," "the personal is the political," and "women's rights are human rights," long before Western activists adopted these ideas. Among Women across Worlds uncovers movements and ideas foundational to today's era.
A look at a prize-winning documentarian whose work with aboriginal Australians and others united the fields of film and anthropology in the 1960s and ‘70s. In Roger Sandall’s Films and Contemporary Anthropology, Lorraine Mortimer argues that while social anthropology and documentary film share historic roots and goals, particularly on the continent of Australia, their trajectories have tended to remain separate. This book reunites film and anthropology through the works of Roger Sandall, a New Zealand–born filmmaker and Columbia University graduate, who was part of the vibrant avant-garde and social documentary film culture in New York in the 1960s. Mentored by Margaret Mead in anthropology and Cecile Starr in fine arts, Sandall was eventually hired as the one-man film unit at the newly formed Australian Institute of Aboriginal Studies in 1965. In the 1970s, he became a lecturer in anthropology at the University of Sydney. Sandall won First Prize for Documentary at the Venice Film Festival in 1968, yet his films are scarcely known, even in Australia now. Mortimer demonstrates how Sandall’s films continue to be relevant to contemporary discussions in the fields of anthropology and documentary studies. She ties exploration of the making and restriction of Sandall’s aboriginal films and his nonrestricted films made in Mexico, Australia, and India to the radical history of anthropology and the resurgence today of an expanded, existential-phenomenological anthropology that encompasses the vital connections between humans, animals, things, and our environment.