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In her exuberant new work, BOBBED HAIR AND BATHTUB GIN, Marion Meade presents a portrait of four extraordinary writers--Dorothy Parker, Zelda Fitzgerald, Edna St. Vincent Millay, and Edna Ferber--whose loves, lives, and literary endeavors embodied the spirit of the 1920s. Capturing the jazz rhythms and desperate gaiety that defined the era, Meade gives us Parker, Fitzgerald, Millay, and Ferber, traces the intersections of their lives, and describes the men (F. Scott Fitzgerald, Edmund Wilson, Harold Ross, and Robert Benchley) who influenced them, loved them, and sometimes betrayed them. Here are the social and literary triumphs (Parker's Round Table witticisms appeared almost daily in the newspapers and Ferber and Millay won Pulitzer Prizes) and inevitably the penances each paid: crumbled love affairs, abortions, depression, lost beauty, nervous breakdowns, and finally, overdoses and even madness. These literary heroines did what they wanted, said what they thought, living wholly in the moment. They kicked open the door for twentieth-century women writers and set a new model for every woman trying to juggle the serious issues of economic independence, political power, and sexual freedom. Meade recreates the excitement, romance, and promise of the 1920s, a decade celebrated for cultural innovation--the birth of jazz, the beginning of modernism--and social and sexual liberation, bringing to light, as well, the anxiety and despair that lurked beneath the nonstop partying and outrageous behavior. A vibrant mixture of literary scholarship, social history, and scandal, BOBBED HAIR AND BATHTUB GIN is a rich evocation of a period that will forever intrigue and captivate us.
Connemara Moore, a woman with two suitors, has a series of madcap adventures with an undercover agent while she tries to decide between her suitors.
The lives and times of four extraordinary writers and personalities of the 1920s: Dorothy Parker, Zelda Fitzgerald, Edna St. Vincent Millay and Edna Ferber.
In the spring of 1924, a poor, 19 year old laundress from Brooklyn robbed a string of New York grocery stores with a 'baby automatic', a fur coat, and a fashionable bobbed hairdo. Celia Cooney's crimes made national news and this text brings to life a world of great wealth and poverty and class conflict.
Dress and fashion are central to our understanding of art. From the stylization of the body to subtle textile embellishments and richly symbolic colors, dress tells a story and provides clues as to the cultural beliefs of the time in which artworks were produced. This concise and accessible book provides a step-by-step guide to analysing dress in art, including paintings, photographs, drawings and art installations. The first section of the book includes an introduction to visual analysis and explains how to 'read' fashion and dress in an artwork using the checklists. The second section offers case studies which demonstrate how artworks can be analysed from the point of view of key themes including status and identity, modernity, ideals of beauty, gender, race, globalization and politics. The book includes iconic as well as lesser known works of art, including work by Elisabeth Vigée le Brun, Thomas Gainsborough, James Jacques Tissot, Marcel Duchamp and Man Ray, Yinka Shonibare, Mickalene Thomas, Kent Monkman and many others. Reading Fashion in Art is the perfect text for students of fashion coming to art history for the first time as well as art history students studying dress in art and will be an essential handbook for any gallery visitor. The step-by-step methodology helps the reader learn to look at any work of art that includes the dressed or undressed body and confidently develop a critical analysis of what they see.
With her short skirt, bobbed hair, and penchant for smoking, drinking, dancing, and jazz, the “Modern Girl” was a fixture of 1920s Canadian consumer culture. She appeared in art, film, fashion, and advertising, as well as on the streets of towns from coast to coast. In The Modern Girl, Jane Nicholas argues that this feminine image was central to the creation of what it meant to be modern and female in Canada. Using a wide range of visual and textual evidence, Nicholas illuminates both the frequent public debates about female appearance and the realities of feminine self-presentation. She argues that women played an active and thoughtful role in their embrace of modern consumer culture, even when it was at the risk of serious social, economic, and cultural penalties. The first book to fully examine the “Modern Girl”’s place in Canadian culture, The Modern Girl will be essential reading for all those interested in the history of gender, sexuality, and the body in the modern world.
Female criminals are often portrayed as caricatures: Black Widows, Queenpins, Mob Molls, or Femme Fatales. But the real stories are much more fascinating and complex.In Pretty Evil New York author Elizabeth Kerri Mahon takes you on a journey through a rogue’s gallery of some of New York’s most notable female criminals. Drawing on newspaper coverage and other primary sources, this collection of historical true crime stories chronicles eleven women who were media sensations in their day, making headlines across the country decades before radio, television, or social media. Roxalana Druse, the last woman to be hanged in New York; Ruth Snyder, immortalized in James M. Cain’s novella Double Indemnity; serial killer Lizzie Halliday, nicknamed the Worst Woman in the World, who became a Hudson Valley legend; Celia Cooney, the Bobbed Hair Bandit; and Stephanie St. Clair, who rose to the top of the numbers game and then made Harlem cheer when she stood up to mobster Dutch Schultz. Alongside them are some forgotten felons, whose stories, though less well-known, are just as fascinating. Spurred by passion, profit, paranoia, or just plain perverse pleasure, these ladies span one hundred years of murder, mayhem, and madness in the Empire State.