Description : In this volume, women historians probe the dilemmas and complexities of writing about the woman artist, past and present. Singular women proposes a new feminist investigation of the history of art by considering how a historian's theoretical approach affects the way in which research progresses and stories are told. These thirteen essays on specific artists, from the Renaissance to the present day, address their work and history to examine how each has been inserted into or left out of the history of art. The artists referred to are: Artemisia Gentileschi, Judith Leyster, Elisabeth Vigée-Lebrun, Clementina Hawarden, Sally Mann, Harriet Power, Mary Cassatt, Jessie Willcox Smith, Florine Stettheimer, Jo Hopper, Eleanor Agnes Raymond, Elizabeth Catlett, Nancy Spero, Carolee Schneemann, Louise Bourgeois, and Francesca Woodman.
Description : Collection of writings describing the pleasures and pains of the single life. Topics addressed include economic independence, autonomy, relationships between the sexes, religious vocation. Provides an insight into the way in which the world views single women, and the way women respond to the single life. Contributors include Yvonne Allen, Veronica Brady and Sarah Endacott. In the 'Women's Voices, Women's Lives' series. Includes an index.
Description : From the author of The Beneficiary: Fortune, Misfortune and the Story of My Father comes a major publishing event: an unprecedented look into the life of the woman who most singularly shaped Barack Obama-his mother. Barack Obama has written extensively about his father, but little is known about Stanley Ann Dunham, the fiercely independent woman who raised him, the person he credits for, as he says, "what is best in me." Here is the missing piece of the story. Award-winning reporter Janny Scott interviewed nearly two hundred of Dunham's friends, colleagues, and relatives (including both her children), and combed through boxes of personal and professional papers, letters to friends, and photo albums, to uncover the full breadth of this woman's inspiring and untraditional life, and to show the remarkable extent to which she shaped the man Obama is today. Dunham's story moves from Kansas and Washington state to Hawaii and Indonesia. It begins in a time when interracial marriage was still a felony in much of the United States, and culminates in the present, with her son as our president- something she never got to see. It is a poignant look at how character is passed from parent to child, and offers insight into how Obama's destiny was created early, by his mother's extraordinary faith in his gifts, and by her unconventional mothering. Finally, it is a heartbreaking story of a woman who died at age fifty-two, before her son would go on to his greatest accomplishments and reflections of what she taught him.
Description : Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.
Description : Emily Harrington offers a new history of women’s poetry at the turn of the century that breaks from conventional ideas of nineteenth-century lyric, which focus on individual subjectivity. She argues that women poets conceived of lyric as an intersubjective genre, one that seeks to establish relations between subjects rather than to constitute a subject in isolation. Moving away from canonical texts that contribute to the commonly held notion that lyric poetry is an utterance made in solitude, Harrington explores the work of Christina Rossetti, Augusta Webster, A. Mary F. Robinson, Alice Meynell, and Dollie Radford to show how nineteenth-century poetic conventions shaped and were shaped by concepts of intimacy. Writing about relationships that are familial, divine, sexual, literary, and musical, these poets reconsidered the dynamics of absence and presence, and subject and object, that are at the heart of the lyric enterprise. Harrington locates these poets' theories of intimacy not only in their formal poetic practice but also in diverse prose works such as prefaces, literary and devotional essays, and unpublished letters and diaries. By analyzing various patterns of versification and modes of address, she articulates new ways of thinking about the bonds of verse and enlarges our understanding of verse culture in the late nineteenth century.
Description : Durkheim and Women is the first book-length work to present a feminist analysis of the theoretical writings of Emile Durkheim. Through a close textual reading of Durkheim?s widely scattered statements about women, Jennifer M. Lehmann reconstructs a coherent Durkheimian theory of women. She places Durkheim squarely in the swirling modernist controversies of his time and the equally bedeviling postmodernist controversies of ours.
Description : Drawing on his four decades of library experience, Gorman has written a thoughtful and humanizing book that not only reminds librarians why they chose their craft, but reinforces the importance of their work