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From the USA Today Bestselling author of The Magician's Lie "Macallister is becoming a leading voice in strong, female-driven historical fiction. Exciting, frightening, and unspeakably moving..."—Erika Robuck, bestselling author of Hemingways's Girl For the first daring female Pinkerton detective, respect is hard to come by, but danger and spies are everywhere. In the tumultuous years of the Civil War, the streets of Chicago offer a woman mostly danger and ruin—unless that woman is Kate Warne. As an undercover Pinkerton detective, Kate is able to infiltrate the seedy side of the city in disguises that her fellow spies just can't manage. She's a seductress, an exotic foreign medium, a rich train passenger—all depending on the day and the robber, thief, or murderer she's been assigned to nab. But is it only her detective work that makes her a daring spy and a clever liar? Or is the real disguise the good girl she always thought she was? As the Civil War marches closer, Kate takes on her most pressing job ever. The nation's future is at risk, and she's no longer sure where her disguise ends and the very real danger begins. With magnificent historical detail, Girl in Disguise brings the adventures of one turn-of-the-century woman to tense, page-turning life. Also by Greer Macallister: The Magician's Lie Woman 99
A Los Angeles Times columnist recounts her eighteen-month undercover stint as a man, a time during which she underwent considerable personal risks as she worked a sales job, joined a bowling league, frequented sex clubs, dated, and encountered firsthand the rigid codes and rituals of masculinity. 80,000 first printing.
A collection of 42 stories or extracts with a common theme: men who for reasons of one kind or another find it necessary to disguise themselves as females. Authors include: Thomas Mallory; Daniel Defoe; Jane Austen; Mark Twain; Conan Doyle; Rudyard Kipling; and the popular Anon.
A girl disguises herself as a boy to train as a knight in this first book in Tamora Pierce’s Margaret A. Edwards Award–winning young adult series—now with a new look! From now on, I’m Alan of Trebond, the younger twin. I’ll be a knight. In a time when girls are forbidden to be warriors, Alanna of Trebond wants nothing more than to be a knight of the realm of Tortall. So she finds a way to switch places with her twin brother, Thom, and, disguised as a boy, begins her training as a page at the palace of King Roald. But the road to knighthood, as she discovers, is not an easy one. Alanna must master weapons, combat, and magic, as well as polite behavior, her temper, and even her own heart. So begin Alanna’s adventures—filled with swords and sorcery, adventure and intrigue, good and evil—that will lead to the fulfillment of her dreams and make her a legend in the land.
Alanna, the on;y female knight in the kingdom, must come to terms with her identity as a woman when Prince Jonathan proposes marriage.
Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.
This book explores medieval society's fascination with the cross-dressed woman and examines a wide variety of sources which record attempts to overcome gender hierarchy and illustrate a desire to re-examine social gender identities.
Joe comes home from school one day to discover that his apparently ordinary parents are actually spies! What's more, baddies are after them! They need to leave their home immediately and disguise themselves to avoid discovery. Joe is thrilled - until he discovers that he has to pretend to be a girl and start his new school as Josephine! Joe (now 'Josephine') is miserable when he starts his new school in a blonde wig, dress and tights. But soon he has a spy mission of his own. Using a host of unusual gadgets, Joe investigates some suspicious goings-on. But can he do so without revealing his true identity?
Comedy Characters: 15 male, 10 female, extras, plus 6 musicians. Various interior and exterior sets or unit set. This recent hit in London is a free adaptation of the 19th century farce by Johann Nestroy that provided the plot for Thornton Wilder's The Merchant of Yonkers, which led to The Matchmaker, which led to Hello, Dolly. The story is basically one long chase, chiefly after two naughty grocer's assistants who, when their master goes off on a binge with a new mistress,
For many people, the history of women in the U.S. Armed Forces begins and ends with the recent Persian Gulf War. However, as Richard Hall shows in this volume, the precedent for women in combat goes back at least as far as the Civil War. He describes women who went disguised as men, as nurses, "daughters of the regiment", and vivandieres, who often took part in the fighting. Photographs.