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.

    Fiction. Poetry. Essays. African American Studies. LGBT Studies. In IN THE LIFE, 29 black authors explore what it means to be doubly different--both black and gay--in modern America. These stories, verses, works of art and theater pieces voice the concerns and aspirations of an often silent minority. They can be poignant, erotic, resolute, or angry, but always reflect the affirming power of coming together to build a strong black gay community. In the introduction to the original 1986 edition, editor Joseph Beam wrote, The bottom line is this: We are Black men who are proudly gay. What we offer is our lives, our love, our visions...We are coming home with our heads held up high. This twentieth anniversary edition includes a new introduction by James Earl Hardy.

    Creating a sort of periodic table of the southern populace, Southern Folk, Plain and Fancy catalogs and describes the several social types--gentleman and lady, "lord of the lash" and cunning belle, fun-loving "good old boy," depraved redneck, and other figures--that have animated the region since antebellum times.