Columbia Documentary HIST of AMER Women Since 1941
Author | : Harriet Sigerman |
Publisher | : |
Total Pages | : 640 |
Release | : 2007-11 |
Genre | : |
ISBN | : 9780231116336 |
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Author | : Harriet Sigerman |
Publisher | : |
Total Pages | : 640 |
Release | : 2007-11 |
Genre | : |
ISBN | : 9780231116336 |
Author | : Harriet Sigerman |
Publisher | : Columbia University Press |
Total Pages | : 710 |
Release | : 2003 |
Genre | : History |
ISBN | : 0231116993 |
From the Hoover vacuum cleaner to the fax machine, from the pill to reproductive rights, from Rosie the Riveter to Martha Stewart and Hillary Rodham Clinton, American women have grappled with a sometimes dizzying rate of social and economic change and continually shifting conceptions of gender. This collection of documents seeks to chronicle the exciting and tumultuous recent history of American women, beginning with the watershed event of World War II and the lasting impact of the war effort on women's social and economic opportunities. Subsequent documents speak to the ideas and changes brought about by the women's movement; the challenges to and defense of reproductive rights; the backlash against feminism in the name of family values; and new visions for women's lives in the twenty-first century.
Author | : Harriet Sigerman |
Publisher | : Columbia University Press |
Total Pages | : 730 |
Release | : 2003 |
Genre | : History |
ISBN | : 9780231116985 |
Liquid Metal brings together 'seminal' essays that have opened up the study of science fiction to serious critical interrogation. Eight distinct sections cover such topics as the cyborg in science fiction; the science fiction city; time travel and the primal scene; science fiction fandom; and the 1950s invasion narratives. Important writings by Susan Sontag, Vivian Sobchack, Steve Neale, J.P. Telotte, Peter Biskind and Constance Penley are included.
Author | : Dorothy Chansky |
Publisher | : University of Iowa Press |
Total Pages | : 307 |
Release | : 2015-11-05 |
Genre | : Performing Arts |
ISBN | : 1609383761 |
From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman, A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner of Second Avenue to 2005’s The Clean House, domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed “kitchen sink realism” to both support and contest the idea that the home is naturally women’s sphere. But there is more to the genre than even its supporters suggest. In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women’s roles and the importance of their household labor across lines of class and race in the twentieth century. The story begins just after World War I, as more households were electrified and fewer middle-class housewives could afford to hire maids. In the 1920s, popular mainstream plays staged the plight of women seeking escape from the daily grind; African American playwrights, meanwhile, argued that housework was the least of women’s worries. Plays of the 1930s recognized housework as work to a greater degree than ever before, while during the war years domestic labor was predictably recruited to the war effort—sometimes with gender-bending results. In the famously quiescent and anxious 1950s, critiques of domestic normalcy became common, and African American maids gained a complexity previously reserved for white leading ladies. These critiques proliferated with the re-emergence of feminism as a political movement from the 1960s on. After the turn of the century, the problems and comforts of domestic labor in black and white took center stage. In highlighting these shifts, Chansky brings the real home.
Author | : Min Zhou |
Publisher | : NYU Press |
Total Pages | : 680 |
Release | : 2016-04-19 |
Genre | : History |
ISBN | : 1479829234 |
The third edition of the foundational volume in Asian American studies Who are Asian Americans? Moving beyond popular stereotypes of the “model minority” or “forever foreigner,” most Americans know surprisingly little of the nation’s fastest growing minority population. Since the 1960s, when different Asian immigrant groups came together under the “Asian American” umbrella, they have tirelessly carved out their presence in the labor market, education, politics, and pop culture. Many times, they have done so in the face of racism, discrimination, sexism, homophobia, and socioeconomic disadvantage. Today, contemporary Asian America has emerged as an incredibly diverse population, with each segment of the community facing its unique challenges. When Contemporary Asian America was first published in 2000, it exposed its readers to the formation and development of Asian American studies as an academic field of study, from its inception as part of the ethnic consciousness movement of the 1960s to the systematic inquiry into more contemporary theoretical and practical issues facing Asian America at the century’s end. It was the first volume to integrate a broad range of interdisciplinary research and approaches from a social science perspective to assess the effects of immigration, community development, and socialization on Asian American communities. This updated third edition discusses the impact of September 11 on Asian American identity and citizenship; the continued influence of globalization on past and present waves of immigration; and the intersection of race, gender, sexuality, and class on the experiences of Asian immigrants and their children. The volume also provides study questions and recommended supplementary readings and documentary films. This critical text offers a broad overview of Asian American studies and the current state of Asian America.
Author | : Donna B. Knaff |
Publisher | : University Press of Kansas |
Total Pages | : 224 |
Release | : 2014-01-10 |
Genre | : Social Science |
ISBN | : 0700619666 |
The iconic bicep-flexing poster image of "Rosie the Riveter" has long conveyed the impression that women were welcomed into the World War II work force and admired for helping "free a man to fight." Donna Knaff, however, shows that "Rosie" only revealed part of the reality and that women depicted in other World War II visual art-both in the private sector and the military-reflected decidedly mixed feelings about the status of women within American society. Beyond Rosie the Riveter takes readers back to a time before television's dominance, to the golden age of print art and its singular power over public opinion. Focusing specifically on instances of "female masculinity" when women entered previously all-male fields, Knaff places these images within the context of popular discussions of gender roles and examines their historical, cultural, and textual contexts. As Knaff reveals, visual messages received by women through war posters, magazine cartoons, comic strips, and ads may have acknowledged their importance to the war effort but also cautioned them against taking too many liberties or losing their femininity. Her study examines the subtle and not-so subtle cultural battles that played out in these popular images, opening a new window on American women's experience. Some images implicitly argued that women should maintain their femininity despite adopting masculinity for the war effort; others dealt with society's deep-seated fear that masculinized women might feminize men; and many reflected the dilemma that a woman was both encouraged to express and suppress her sexuality so that she might be perceived as neither promiscuous nor lesbian. From these cases, Knaff draws a common theme: while being outwardly empowered or celebrated for their wartime contributions, women were kept in check by being held responsible for everything from distracting male co-workers to compromising machinery with their long hair and jewelry. Knaff also notes the subtle distinctions among the images: government war posters targeted blue-collar women, New Yorker content was aimed at socialites, Collier's addressed middle-class women, and Wonder Woman was geared to young girls. Especially through its focus on visual arts, Knaff's book gives us a new look at American society decades before the modern women's rights movement, torn between wartime needs and antiquated gender roles. It provides much-needed nuance to a glossed-over chapter in our history, charting the difficult negotiations that granted-and ultimately took back-American women's wartime freedoms.
Author | : Leah Perry |
Publisher | : NYU Press |
Total Pages | : 299 |
Release | : 2016-09-27 |
Genre | : Social Science |
ISBN | : 1479880795 |
How the immigration policies and popular culture of the 1980's fused to shape modern views on democracy In the 1980s, amid increasing immigration from Latin America, the Caribbean, and Asia, the circle of who was considered American seemed to broaden, reflecting the democratic gains made by racial minorities and women. Although this expanded circle was increasingly visible in the daily lives of Americans through TV shows, films, and popular news media, these gains were circumscribed by the discourse that certain immigrants, for instance single and working mothers, were feared, censured, or welcomed exclusively as laborers. In The Cultural Politics of U.S. Immigration, Leah Perry argues that 1980s immigration discourse in law and popular media was a crucial ingredient in the cohesion of the neoliberal idea of democracy. Blending critical legal analysis with a feminist media studies methodology over a range of sources, including legal documents, congressional debates, and popular media, such as Golden Girls, Who’s the Boss?, Scarface, and Mi Vida Loca, Perry shows how even while “multicultural” immigrants were embraced, they were at the same time disciplined through gendered discourses of respectability. Examining the relationship between law and culture, this book weaves questions of legal status and gender into existing discussions about race and ethnicity to revise our understanding of both neoliberalism and immigration.
Author | : Amber E Kinser |
Publisher | : Seal Press |
Total Pages | : 225 |
Release | : 2010-05-04 |
Genre | : Social Science |
ISBN | : 158005353X |
How does feminism relate to motherhood, how has it changed over time, and what does the future of motherhood and feminism look like? These are just some of the questions Amber E. Kinser, PhD, tackles in this latest addition to the Seal Studies Series. Motherhood and Feminism examines the role of feminism within motherhood—a topic that has garnered a lot of attention lately as society shifts to adapt to new definitions of these roles—and offers insight into the core questions of motherhood: what it means to be a good mother, what role mothers play in the family and in society, and how motherhood has been redefined throughout time. Kinser also speculates on the future directions of feminism—focusing on the expansion of contemporary mother activism that has occurred in the last 15 years, and emphasizing the need for that expansion to continue—and examines how the changing world of motherhood fits into feminist activism.
Author | : Rita Liberti |
Publisher | : Syracuse University Press |
Total Pages | : 346 |
Release | : 2015-05-29 |
Genre | : Sports & Recreation |
ISBN | : 0815653077 |
Wilma Rudolph was born black in Jim Crow Tennessee. The twentieth of 22 children, she spent most of her childhood in bed suffering from whooping cough, scarlet fever, and pneumonia. She lost the use of her left leg due to polio and wore leg braces. With dedication and hard work, she became a gifted runner, earning a track and field scholarship to Tennessee State. In 1960, she became the first American woman to win three gold medals in a single Olympic Games. Her underdog story made her into a media darling, and she was the subject of countless articles, a television movie, children’s books, biographies, and she even featured on a U.S. postage stamp. In this work, Smith and Liberti consider not only Rudolph’s achievements, but also the ways in which those achievements are interpreted and presented as historical fact. Theories of gender, race, class, and disability collide in the story of Wilma Rudolph, and Smith and Liberti examine this collision in an effort to more fully understand how history is shaped by the cultural concerns of the present. In doing so, the authors engage with the metanarratives which define the American experience and encourage more complex and nuanced interrogations of contemporary heroic legacy.
Author | : Stephen C. Meyer |
Publisher | : Indiana University Press |
Total Pages | : 288 |
Release | : 2014-11-27 |
Genre | : Performing Arts |
ISBN | : 025301459X |
“A well-researched and thorough book examining what the author finds to be a unique facet of film music of the late 1940s and early 1950s.” —Soundtrax Lavish musical soundtracks contributed a special grandeur to the new widescreen, stereophonic sound movie experience of postwar biblical epics such as Samson and Delilah, Ben-Hur, and Quo Vadis. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s. “A major contribution to the field of film music studies and ought to be widely read by musicologists with an interest in film. Really, it ought to be read by film scholars as well: although the depth of Meyer’s engagement with the music is felt on almost every page, this is also a powerfully sustained exploration of the biblical epic as a film genre.” —American Music “Meyer’s clear and articulate study promises to be a welcome addition to the reading list of anyone interested not just in film but in mid-century music history.” —Journal of the Society for American Music “An ambitious and fascinating book.” —James Buhler, The University of Texas at Austin