-- Alan Dundes. Propp's work is seminal...[and], now that it is available in a new edition, should be even more valuable to folklorists who are directing their attention to the form of the folktale, especially to those structural characteristics which are common to many entries coming from even different cultures. -- Choice

    It makes an effort to value aspects of historical gay experience that now threaten to disappear, branded as embarrassing evidence of the bad old days before Stonewall. Love argues that instead of moving on, we need to look backward.

    Drawing on interviews with both victims and fraternity members, Peggy Reeves Sanday reconstructs daily life in the fraternity, highlighting the role played by pornography, male bonding, and degrading, often grotesque, initiation and hazing rituals.In a substantial new introduction and afterword, Sanday updates the incidences of fraternity gang rape on college campuses today, highlighting such recent cases as that of Duke University and others in the headlines. Sanday also explores the nature of hazing at sororities on campus and how Greek life in general contributes to a culture which promotes the exploitation and sexual degradation of women on campus. More broadly, Sanday examines the nature of campus life today and the possibility of creating a rape-free campus culture.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Now, the book that reignited the feminist movement is back in a fifteenth anniversary edition, with a new preface by the author that brings backlash consciousness up to date. When it was first published, Backlash made headlines for puncturing such favorite media myths as the “infertility epidemic” and the “man shortage,” myths that defied statistical realities. These willfully fictitious media campaigns added up to an antifeminist backlash. Whatever progress feminism has recently made, Faludi’s words today seem prophetic. The media still love stories about stay-at-home moms and the “dangers” of women’s career ambitions; the glass ceiling is still low; women are still punished for wanting to succeed; basic reproductive rights are still hanging by a thread. The backlash clearly exists.With passion and precision, Faludi shows in her new preface how the creators of commercial culture distort feminist concepts to sell products while selling women downstream, how the feminist ethic of economic independence is twisted into the consumer ethic of buying power, and how the feminist quest for self-determination is warped into a self-centered quest for self-improvement. Backlash is a classic of feminism, an alarm bell for women of every generation, reminding us of the dangers that we still face.

    In eleven acute and widely ranging essays, Irigaray reconsiders the question of female sexuality in a variety of contexts that are relevant to current discussion of feminist theory and practice. Among the topics she treats are the implications of the thought of Freud and Lacan for understanding womanhood and articulating feminine discourse; classic views on the significance of the difference between male and female sex organs; and the experience of erotic pleasure in men and women. She also takes up explicitly the question of economic exploitation of women; in an astute reading of Marx she shows that the subjection of woman has been institutionalized by her reduction to an object of economic exchange. Throughout Irigaray seeks to dispute and displace male-centered structures of language and thought through a challenging writing practice that takes a first step toward a woman's discourse, a discourse that would put an end to Western culture's enduring phallocentrism. Makin more direct and accessible the subversive challenge of Speculum of the Other Woman, this volume--skillfully translated by Catherine Porter with Carolyn Burke--will be essential reading for anyone seriously concerned with contemporary feminist issues.

    Here Girard explores violence as it is represented and occurs throughout history, literature and myth. Girard's forceful and thought-provoking analyses of Biblical narrative, Greek tragedy and the lynchings and pogroms propagated by contemporary states illustrate his central argument that violence belongs to everyone and is at the heart of the sacred.

    She described how women remained marginalized by the patriarchal culture of Black Power and the ways in which a genuine female subjectivity was blocked by the traditional myths of black womanhood. In 1990 the author added a new introduction examining the debate the book had sparked between intellectuals and political leaders; an extensive bibliography of contemporary black feminist studies was also added. Black Macho raised issues and arguments that framed the terms of current feminist and black theory and continues to be relevant today.

    We cannot quote Shakespeare to describe a headache. We must, Woolf says, invent language to describe pain. And though illness enhances our perceptions, she observes that it reduces self-consciousness; it is "the great confessional." Woolf discusses the cultural taboos associated with illness and explores how illness changes the way we read. Poems clarify and astonish, Shakespeare exudes new brilliance, and so does melodramatic fiction!On Being Ill was published as an individual volume by Hogarth Press in 1930. While other Woolf essays, such as A Room of One’s Own and Three Guineas, were first published by Hogarth as individual volumes and have since been widely available, On Being Ill has been overlooked. The Paris Press edition features original cover art by Woolf’s sister, the painter Vanessa Bell. Hermione Lee’s Introduction discusses this extraordinary work, and explores Woolf’s revelations about poetry, language, and illness.

    . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more.Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression.

    In addition, decades of negative campaigns, excessively "messaged" issues, and hanging chads have all combined to make political apathy appear not only smart, but sexy. The result is that while they still bemoan the state of gender politics, gender equity, and the agendas of their local, state, and national politicians, nearly 19 million young women chose not to vote in the last presidential election.Yes, the face of feminism is changing, but to what end? Is a new generation taking for granted the rights hard-won only a generation before? And by focusing on culturalnot electoralpolitics, are young women giving their power away? In this pivotal book, Kristin Rowe-Finkbeiner, political and environmental consultant (and wife of Washington State s Republican senate majority leader), asks these critical questions, tracing feminism s distinguished past and asking what can be done to protect and further women s rights and freedoms."

    In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.Discussing expressionism / Ernst BlochRealism in the balance / Georg LukacsAgainst Georg Luckacs / Bertolt BrechtConversations with Brecht / Walter BenjaminLetters to Walter Benjamin / Theodor AdornoReply / Walter BenjaminReconciliation under duress ; Commitment / Theodor AdornoReflections in conclusion / Fredric Jameson

    Misogyny encompasses the Church, witch hunts, sexual theory, Nazism, pro-life campaigners, and finally, today's developing world, where women are increasingly and disproportionately at risk because of radicalized religious beliefs, famine, war, and disease. Extensively researched, highly readable and provocative, this book chronicles an ancient, pervasive and enduring injustice. The questions it poses deal with the fundamentals of human existence — sex, love, violence — that have shaped the lives of humans throughout history, and ultimately limn an abuse of human rights on a nearly unthinkable scale.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.