Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    How can biblical authority be a reality for those shaped by the modern world? This book treats the First World as a mission field, offering a unique perspective on the relationship between the gospel and current society by presenting an outsider's view of contemporary Western culture.

    This moving and insightful bestseller, based on in-depth interviews with 135 women, explains why they feel this way. Updated with a new preface exploring how the authors' collaboration and research developed, this tenth anniversary edition addresses many of the questions that the authors have been asked repeatedly in the years since Women's Ways of Knowing was originally published.

    Previously, writing had operated by way of symbolic mediation—all data had to pass through the needle's eye of the written signifier—but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers.Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media—including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators—Gramophone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines.Gramophone, Film, Typewriter is, among other things, a continuation as well as a detailed elaboration of the second part of the author's Discourse Networks, 1800/1900 (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.

    Contrary to popular Western notions of community, Nancy shows that it is neither a project of fusion nor production. Rather, he argues, community can be defined through the political nature of its resistance against immanent power.

    In Going to the Territory, Ellison provides us with dramatically fresh readings of William Faulkner and Richard Wright, along with new perspectives on the music of Duke Ellington and the art of Romare Bearden. He analyzes the subversive quality of black laughter, the mythic underpinnings of his masterpiece Invisible Man, and the extent to which America's national identity rests on the contributions of African Americans. Erudite, humane, and resounding with humor and common sense, the result is essential Ellison.

      Former rodeo cowboy Johnny France had been sheriff of Madison County, Montana, for three years when Kari Swenson, a Bozeman resident training for the World Biathlon Championship, went missing near Big Sky Resort in July 1984. Her friends feared that Kari had been attacked by a grizzly bear, but the truth was far scarier: She’d been kidnapped at gunpoint by father-and-son survivalists Don and Dan Nichols. The pair had been living in the wilderness off and on for years and hoped to make Kari a “mountain woman” and Dan’s bride. But the plan went horribly wrong from the start, and after a deadly firefight with rescuers, the kidnappers vanished into the rugged terrain of the Spanish Peaks.   As Montana’s summer froze into brutal winter blizzards, SWAT teams, forest rangers, and antiterrorist units searched the backcountry but sighted the mountain men only once. Then came the call about a strange campfire on a slope above the Madison River. Sheriff France decided to go into the forest to face the fugitives—alone. The resulting showdown made him “perhaps the most famous Western sheriff since Wyatt Earp . . . a modern legend” (Chicago Tribune).  Incident at Big Sky is the “exciting,” edge-of-your-seat account of a shocking crime that made headlines around the world (The New York Times Book Review). In a voice as distinctive and compelling as the Montana landscape, France takes readers on a high-stakes adventure so bizarre and unforgettable it could only be true.

    He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom. Students of film and cultural studies will find this an invaluable part of there course reading.

    An historical survey of the work of Black women photographers presents a selection of photographs from the past one hundred years, and comments on the career of each photographer.

    I believe that people should be able to call themselves whatever they wish, and scholars should respect and acknowledge their change of terminology. I went on record early on in convincing other anthropologists to shift away from use of the word berdache and in favor of using Two-Spirit. Nevertheless, because this book continues to be sold with the use of berdache, many people have assumed that I am resisting the newer term. Nothing could be further from the truth. Unless continued sales of this book will justify the publication of a third revised edition in the future, it is not possible to rewrite what is already printed, Therefore, I urge readers of this book, as well as activists who are working to gain more respect for gender variance, mentally to substitute the term "Two-Spirit" in the place of "berdache" when reading this text. -- Walter L. Williams, Los Angeles, 2006

    Judith Walzer Leavitt's study focuses on the traditional woman-centered home-birthing practices, their replacement by male doctors, and the movement from the home to the hospital. She explains that childbearing women and their physicians gradually changed birth places because they believed the increased medicalization would make giving birth safer and more comfortable. Ironically, because of infection, infant and maternal mortality did not immediately decline. She concludes that birthing women held considerable power in determining labor and delivery events as long as childbirth remained in the home. The move to the hospital in the twentieth century gave the medical profession the upper hand. Leavitt also discusses recent events in American obstetrics that illustrate how women have attempted to retrieve some of the traditional women--and family--centered aspects of childbirth.

    It is by far the most complete representation of critical theory available, including phenomenologists, structuralists, deconstructionists, Marxists, feminists, reader-response critics, dissenters, and eccentrics, and supplying the background texts necessary of a working understanding of contemporary critical vocabulary and thought.The volume includes selections from Chomsky, Searle, Derrida, Foucault, Frye, Bloom, Kristeva, Fish, Baktin, Berlin, Lacan, Heidegger, Wittgenstein, Lukács, Lévi-Strauss, and Blanchot, among many others.

    The authors compare high and low discourse in a variety of domains, and discover that, in every case, the polarities structure and depend upon each other and, in certain instances, interpenetrate to produce political change.

    

    Aldgate and Richards make use of key resources, from scripts and box-office returns to official Home Office documents and censorship archives, to bring these films to vivid life.  In telling their stories, the authors also recreate the society, the politics and war-time conditions in which they appeared and flourished. This new edition of 'Britain Can Take It' features a new chapter on Launder and Gilliat's 1943 film on women factory workers, 'Millions Like Us.  It will be welcomed back by film scholars and historians, students and film lovers as essential reading.