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"Vickery's book, which includes floor plans and eight pages in color, examines the intimate relationship between a Victorian institution intended solely for women and the architectural theories of the period. In doing so, she sheds light on the role of the founders, such as Emily Davies at Girton, their goals for their colleges and the pressure which a reluctant and skeptical society placed upon them. Reformers in women's education were sometimes radical feminists, but more often the women and men who were involved were modest in their approach, arguing for little change in the status of women and veiling their ambitions for women's progress under a restrained and traditional rhetoric. This conservative approach conditioned the built environment of the colleges and is an important aspect of nineteenth-century British feminism." "Central to this book is the connection between the attitudes of Victorian society towards the higher education of women and the built environment. Feminist architectural historians and anthropologists are just beginning to explore these connections, and Vickery's book, with its focus on a gender-specific building type, offers insight into the ways in which the values of a society are encoded into the environment in which we live and work. It is therefore of interest not only to architectural historians, but to feminists, social historians, and anyone interested in the history of the collegiate environment."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This studyargues that female networks of conversation, correspondenceand patronage formed the foundation for women's work in the 'higher' realms of Shakespeare criticism and poetry. Eger traces the transition between Enlightenment and Romantic culture, arguing for the relevance of rational argument in the history of women's writing.
A New York Times Book Review Editors' Choice An illuminating group portrait of the eighteenth-century women who dared to imagine an active life for themselves in both mind and spirit. In England in the 1700s, a woman who was an intellectual, spoke out, or wrote professionally was considered unnatural. After all, as the wisdom of the era dictated, a clever woman—if there were such a thing—would never make a good wife. But a circle of women called the Bluestockings did something extraordinary: coming together in glittering salons to discuss and debate as intellectual equals with men, they fought for women to be educated and to have a public role in society. In this intimate and revelatory history, Susannah Gibson delves into the lives of these pioneering women. Elizabeth Montagu established one of the most famous salons of the Bluestocking movement, with everyone from royalty to revolutionaries clamoring for an invitation to attend. Her younger sister, Sarah Scott, imagined a female-run society and created a women’s commune. Meanwhile, Hester Thrale, who also had a salon, saved her husband’s brewery from bankruptcy and, after being widowed, married a man she loved—Italian, Catholic, and not of her social class. Other women made a name for themselves through their publications, including Catharine Macaulay, author of an eight-volume history of England, and Frances Burney, author of the audacious novel Evelina. In elegant prose, Gibson reveals the close and complicated relationships between these women, how they supported and admired each other, and how they sometimes judged and exploited one another. Some rebelled quietly, while others defied propriety with adventurous and scandalous lives. With moving stories and keen insight, The Bluestockings uncovers how a group of remarkable women slowly built up an eviscerating critique of their male-dominated world that society was not yet ready to hear.
Bringing together top specialists in the field, this edited volume challenges the theory that the eighteenth-century British intellectual women known as the Bluestockings were an isolated phenomenon spanning the period from the 1750s through the 1790s. On the contrary, the contributors suggest, the Bluestockings can be conceptualized as belonging to a chain of interconnected networks, taking their origin at a threshold moment in print media and communications development and extending into the present. The collection begins with a definition of the Bluestockings as a social role rather than a fixed group, a movement rather than a static phenomenon, an evolving dynamic reaching into our late-modern era. Essays include a rare transcript of a Bluestocking conversation; new, previously unknown Bluestockings brought to light for the first time; and descriptions of Bluestocking activity in the realms of natural history, arts and crafts, theatre, industry, travel, and international connections. The concluding essay argues that the Blues reimagined and practiced women’s work in ways that adapted to and altered the course of modernity, decisively putting a female imprint on economic, social, and cultural modernization. Demonstrating how the role of the Bluestocking has evolved through different historical configurations yet has structurally remained the same, the collection traces the influence of the Blues on the Romantic Period through the nineteenth century and proposes the reinvention of Bluestocking practice in the present.
Country houses and the British empire, 1700–1930 assesses the economic and cultural links between country houses and the Empire between the eighteenth and twentieth centuries. Using sources from over fifty British and Irish archives, it enables readers to better understand the impact of the empire upon the British metropolis by showing both the geographical variations and its different cultural manifestations. Barczewski offers a rare scholarly analysis of the history of country houses that goes beyond an architectural or biographical study, and recognises their importance as the physical embodiments of imperial wealth and reflectors of imperial cultural influences. In so doing, she restores them to their true place of centrality in British culture over the last three centuries, and provides fresh insights into the role of the Empire in the British metropolis.
Verity Holloway’s nineteenth-century cousin Thomas Holloway’s patent medicine empire was so ubiquitous, Charles Dickens commented that if you’d murdered someone with the name Holloway, you’d think their spirit had come back to torment you. Advertising as far away as the pyramids in Giza, it was said Holloway’s Ointment could cure lesions on a wooden leg. Bottling leftover cooking grease in the kitchen of his parents’ Cornish pub, Thomas’s dubious cure-alls made him one of the richest self-made men in England. Promising to save respectable Victorian invalids ‘FROM THE POINT OF DEATH’ (his capitals), the self-proclaimed ‘Professor’ Holloway used his millions to build the enormous Gothic Holloway College and Holloway Sanatorium for the insane. But Thomas was a man of contradictions. To his contemporaries, he was simultaneously ‘the greatest benefactor to ever live’ and no better than a general who led millions to their deaths. Aware of the uselessness of his own products, he believed the placebo effect was well worth the subterfuge and never ridiculed his customers. A ruthless businessman, he was deeply in love with his wife and cared for the education of young women. The Mighty Healer charts Thomas’s rise and the realization of his worst fear – that rival company Beechams would one day take him over – plus the very Victorian squabbling over his fortune by his respectable and not-so-respectable relations. It draws on primary and secondary sources to ground Thomas’s life in the social issues of the day, including women’s education, Victorian mental healthcare, contemporary accounts of debtors’ gaols, and of course the patent medicine trade of the mid-Victorian period; the people who took the medicine, and those who fiercely opposed it.
Neither a cosy anecdotal inside story, nor a straightforward account of women's struggle to enter the university, this history of St Hugh's College, Oxford looks both upstairs and downstairs, at dons and undergraduates but also at domestic staff. What did it mean for the would-be school teacher, the flapper on the motorcycle, the depression era grammar-school girl, and the student revolutionary of the 1970s to re-invent themselves as educated women? Who remained excluded from this emancipated identity? What were the tensions between old and new generations of dons and undergraduates? And what of the first Principal's notorious belief in time-travel? In this innovative study, Schwartz explores the relationship between personal and collective identity in one of the first higher educational establishments run by and for women, during a period in which women's role both in society and university education changed beyond recognition. Based on new and original research, A Seroius Endeavour offers a fresh and sometimes disquieting perspective on the history of gender and education in twentieth-century Britain, opening up new ways of thinking about the development of women's higher education.
Examines how radical bookstores and similar spaces serve as launching pads for social movements How does social change happen? It requires an identified problem, an impassioned and committed group, a catalyst, and a plan. In this deeply researched consideration of seventy-seven stores and establishments, Kimberley Kinder argues that activists also need autonomous space for organizing, and that these spaces are made, not found. She explores the remarkably enduring presence of radical bookstores in America and how they provide infrastructure for organizing—gathering places, retail offerings that draw new people into what she calls “counterspaces.” Kinder focuses on brick-and-mortar venues where owners approach their businesses primarily as social movement tools. These may be bookstores, infoshops, libraries, knowledge cafes, community centers, publishing collectives, thrift stores, or art installations. They are run by activist-entrepreneurs who create centers for organizing and selling books to pay the rent. These spaces allow radical and contentious ideas to be explored and percolate through to actual social movements, and serve as crucibles for activists to challenge capitalism, imperialism, white privilege, patriarchy, and homophobia. They also exist within a central paradox: participating in the marketplace creates tensions, contradictions, and shortfalls. Activist retail does not end capitalism; collective ownership does not enable a retreat from civic requirements like zoning; and donations, no matter how generous, do not offset the enormous power of corporations and governments. In this timely and relevant book, Kinder presents a necessary, novel, and apt analysis of the role these retail spaces play in radical organizing, one that demonstrates how such durable hubs manage to persist, often for decades, between the spikes of public protest.
We Make Each Other Beautiful focuses on woman of color and queer of color artists and artist collectives who engage in direct political action as a part of their art practice. Defined by public protest, rule-breaking, rebellion, and resistance to governmental and institutional abuse, direct-action "artivism" draws on the aims, radical spirit, and tactics of the civil rights and feminist movements and on the struggles for disability rights, queer rights, and immigrant rights to seek legal and social change. Yxta Maya Murray traces the development of artivism as a practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and Marsha P. Johnson. She also studies its role in transforming law and society. We Make Each Other Beautiful profiles the work and lives of four contemporary artivists —Carrie Mae Weems, Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown—and the artivist collective Drawn Together, combining new oral histories with sharp analyses of how their diverse and expansive artistic practices bear important aesthetic and politicolegal meanings that address a wide range of injustices.