Portraits Of Women

Men are usually the heroes of Western stories, but women also played a crucial role in developing the American frontier, and their stories have rarely been told. This anthology of biographical essays on women promises new insight into gender in the 19C American West. The women featured include Asian Americans, African-Americans and Native American women, as well as their white counterparts. The original essays offer observations about gender and sexual violence, the subordinate status of women of color, their perseverance and influence in changing that status, a look at the gendered religious legacy that shaped Western Catholicism, and women in the urban and rural, industrial and agricultural West.

As one of the first books to treat portraits of early modern women as a discrete subject, this volume considers the possibilities and limits of agency and identity for women in history and, with particular attention to gender, as categories of analysis for women's images. Its nine original essays on Italy, the Low Countries, Germany, France, and England deepen the usefulness of these analytical tools for portraiture. Among the book's broad contributions: it dispels false assumptions about agency's possibilities and limits, showing how agency can be located outside of conventional understanding, and, conversely, how it can be stretched too far. It demonstrates that agency is compatible with relational gender analysis, especially when alternative agencies such as spectatorship are taken into account. It also makes evident the importance of aesthetics for the study of identity and agency. The individual essays reveal, among other things, how portraits broadened the traditional parameters of portraiture, explored transvestism and same-sex eroticism, appropriated aspects of male portraiture to claim those values for their sitters, and, as sites for gender negotiation, resistance, and debate, invoked considerable relational anxiety. Richly layered in method, the book offers an array of provocative insights into its subject.

Stories and portraits document the awakening and transformation of Chinese women, expecially those of the lower classes, during the Chinese Communist Revolution and illustrate the author's insistence on the necessity of economic self-determination for all women

The portrait is one of the most pure collaborative efforts in the art world. The artist is the creator, but she or he is wholly dependent on the sitter for inspiration and stimulus. When the subject is famous, the artist must often compromise true expression for the vanity of the person being painted. Though that would seemingly make the portrait less appealing artistically, in truth the collaborative nature of the portrait often makes it artistically unique, a blending of the artist's style with the desires of the sitter. This work takes a fresh look at the portraits of 13 American women (Marian Anderson, Clara Barton, Mary McLeod Bethune, Pearl Buck, Mary Cassatt, Isadora Duncan, Marianne Moore, Georgia O'Keeffe, Eleanor Roosevelt, Gertrude Stein, Harriet Beecher Stowe, Harriet Tubman and Martha Washington) and the artists who created them. In examining the work of such artists as Abraham Walkowitz, John Graham, Betsy Graves Reyneau, Michael Alexander Werboff, and Brenda Putnam, one comes to see the unique combination of the personality of the sitter and the style of the artist.

Until recently a "womanless" American history was the norm. But without a history of women we neglect gender dynamics, sex roles, and family relations--the very fundamentals of human interaction. Here 24 short essays locate the histories of women--from Pocahontas to Betty Friedan--and men together by period and provide a sense of their continuities through the whole gallery of the American past. 26 photos.

Newly updated, this series now contains helpful study questions at the end of each chapter. "Matheson was blind, but with the eyes of his heart he could see farther than most of us." —Warren W. Wiersbe

A collection of stories about women from the thirteenth-century Buddhist work that reveals much about women's status in their society and within Buddhism.

The Routledge Handbook of Translation and Politics presents the first comprehensive, state of the art overview of the multiple ways in which ‘politics’ and ‘translation’ interact. Divided into four sections with thirty-three chapters written by a roster of international scholars, this handbook covers the translation of political ideas, the effects of political structures on translation and interpreting, the politics of translation and an array of case studies that range from the Classical Mediterranean to contemporary China. Considering established topics such as censorship, gender, translation under fascism, translators and interpreters at war, as well as emerging topics such as translation and development, the politics of localization, translation and interpreting in democratic movements, and the politics of translating popular music, the handbook offers a global and interdisciplinary introduction to the intersections between translation and interpreting studies and politics. With a substantial introduction and extensive bibliographies, this handbook is an indispensable resource for students and researchers of translation theory, politics and related areas.

This book serves as an introduction to the history of the self-portrait in the work of 40 women artists, from the mid-17th century to the present. It covers portraits in all media, from oil painting to photography, from drawings to sculpture.

How women increasingly became economic agents in early modern Europe is the focus of this stimulating book, which highlights how female agency was crucial for understanding the development of the Western European economy and sheds light on economic development today. Jan Luiten van Zanden, Tine De Moor and Sarah Carmichael argue that over centuries a "European Marriage Pattern" developed, characterized by high numbers of singles among men and women, high marriage ages among men and women, and neolocality, where the couple forms a new nuclear household and did not co-reside with the parents of either bride or groom. This was due to the influence of the Catholic Church's teachings of marriage based on consensus, the rise of labor markets, and institutions concerning property transfers between generations that enhanced wage labor by women. Over time an unprecedented demographic regime was created and embedded in a highly commercial environment in which households interacted frequently with labor, capital and commodity markets. This was one of the main causes of the gradual move away from a Malthusian state towards an economy able to generate long-term economic growth. The authors explore how the pattern was influenced by and influenced female human capital formation, access to the capital market, and participation in the labor market. They use numerous measures of economic activity, including the unique "Girlpower-Index" that measures the average age at first marriage of women minus the spousal age gap, with higher absolute age at marriage and lower spousal age gap both indicating greater female agency and autonomy. The book also examines how this measure can increase understanding of contemporary dynamics of women and the economy. The authors thus shed light on the degree to which women are allowed to play an influential role in and on the economy and society, which varies greatly from one society to another.

This introduction to practicing literary theory is a reader consisting of extracts from critical analyses, largely by 20th century Anglo-American literary critics, set around major literary texts that undergraduate students are known to be familiar with. It is specifically targeted to present literary criticism through practical examples of essays by literary theorists themselves, on texts both within and outside the literary canon. Four example essays are included for each author/text presented.

A Companion to Vittoria Colonna