It's a pedestrian's world, where the streets are clean, the employees are friendly, and the trains run on time. All of its elements are themed, presented in a consistent architectural, decorative, horticultural, musical, even olfactory tone, with rides, shows, restaurants, scenery, and costumed characters coordinated to tell a consistent set of stories. It is beguiling and exasperating, a place of ambivalence and ambiguity. In Vinyl Leaves Professor Fjellman analyzes each ride and theater show of Walt Disney World and discusses the history, political economy, technical infrastructure, and urban planning of the area as well as its relationship with Metropolitan Orlando and the state of Florida.Vinyl Leaves argues that Disney, in pursuit of its own economic interests, acts as the muse for the allied transnational corporations that sponsor it as well as for the world of late capitalism, where the commodity form has colonized much of human life. With brilliant technological legerdemain, Disney puts visitors into cinematically structured stories in which pieces of American and world culture become ideological tokens in arguments in favor of commodification and techno-corporate control. Culture is construed as spirit, colonialism and entrepreneurial violence as exotic zaniness, and the Other as child.Exhaustion and cognitive overload lead visitors into the bliss of Commodity Zen—the characteristic state of postmodern life. While we were watching for Orwell, Huxley rode into town, bringing soma, cable, and charge cards—and wearing mouse ears. This book is the story of our commodity fairyland.

     From backpackers in Peru to artists in Berlin to storytellers in Morocco, Dame Traveler celebrates the diversity and bravery of women from around the world who are not afraid to think (and live) outside the box.The revolutionary Dame Traveler Instagram account was founded by Nastasia Yakoub, who was born into a strict Chaldean-Middle Eastern community where women are expected to marry young and put aside other personal ambitions. But at the age of twenty, Nastasia embarked on a solo trip to South Africa to volunteer at an orphanage in Cape Town, which sparked a love of world travel. Recognizing a void in the travel industry, she founded Dame Traveler, the first female travel community on Instagram, now more than half a million strong. Nastasia herself has traveled to sixty-three countries on solo adventures, sharing colorful photos of her tantalizing travels along the way.Dame Traveler celebrates these women with a photographic collection of 200 stunning images paired with inspiring captions, 80% of which have never been seen on the Instagram account. Organized into sections on architecture, culture, nature, and water, each entry features travel information, plus tips, advice, unique solo-travel experiences, and wisdom from contributing globe-trotters to embolden the next generation of Dame Travelers.

    history while ensuring a balanced sense of the broad diversity of American women. Modeling for students how historians gather and interpret evidence, DuBois and Dumenil provide a textbook rooted in recent scholarship yet accessible to all introductory students.

    Until now, however, no one has written the story of this woman of extraordinary talent and notoriety. She was a great beauty, an aristocratic refugee of the Russian Revolution, and a frankly erotic painter who insisted upon Renaissance aesthetics, figuration, and painterly craft in modern art. The sky-high prices attached to her canvases in recent years have still not dispelled the suspicions that a woman of Lempicka's glamour and fame could be a truly serious artist. Yet the reviews of the early twentieth century tell a different story: her work was routinely singled out as competing with major figures of the School of Paris, including Léger, Laurençin, Kisling, and Picasso.In this first critical biography, Laura Claridge draws upon her exclusive access to Lempicka's family, friends, and archives to re-create the life that the painter carefully withheld even from her own daughter: the truth of her birth; her escape from Bolshevik Russia; her determination to become a New Woman; her lifelong bouts of depression; her numerous affairs with the women and men she painted; her flight from Nazi Europe via Havana; and her years in Hollywood and New York as the "Baroness with a brush," all informed by the artistic integrity and social anachronism that condemned her to being written out of the canons of modern art. Emblematic of '20s excess and indulgence, Tamara de Lempicka's life of great wealth, indiscriminate sexuality, and endless intrigue makes for a fascinating narrative. But her paintings have inspired fierce disagreements over issues of class, wealth, and gender in modern art, making her work ripe for critical re-evaluation.  In Tamara de Lempicka: A Life of Deco and Decadence, Laura Claridge has succeeded brilliantly on both counts, bringing to light the contradictions that fueled the life and work of this provocative painter.Though Paris in the early twenties certainly earned its bohemian reputation, Tamara was playing the game hard by anyone's standards. It seemed to her that she could have it all: respect, money, and sexual gratification on the side. She had arrived at the Gare du Nord only four years earlier, gifted with a painter's talent and a family history of feminine power. Encountering a cultural climate that affirmed art as a remunerative career for women, she also felt freed personally by the Modernist mantra to "make it new" that underwrote every aspect--trivial and profound--of daily life. She was determined to embody that icon of the age, the new woman.

    Social work was uncharted territory at the time, and Britain was very much worse for wear - TB, polio, measles and whooping cough were just some of the hazards new babies faced. Social conditions could also add to the problems, at a time when poverty and alcoholism were rife. Armed with only her nursing training, her common sense and a desire to serve, Molly set out to win over a community and provide a new and valuable service in times of great change. As well as the challenges there was also joy and laughter, from the woman who finally had a baby after fifteen years of trying, to the woman who thought she should use marmalade as nappy cream, because the hospital had never taken the label off the jar they were using to store it. Warm, witty and moving, An Armful of Babies is a vivid portrait of rural England in the post-war years, and a testament to an NHS in its own infancy and to what hasn't changed: the bond between parents and their children, and the importance of protecting that.

    With wit and insight, Dyhouse conducts a dazzling tour of the history and meaning of costume, cosmetics, perfume, and fur; and disentangles some of the arguments surrounding femininity, appearance and power; and directly addresses feminist concerns. As Dyhouse shows with style and flair, glamour as an expression of desire and entitlement in women can’t simply be dismissed as an oppressive, or subjective male fantasy, but carries celebratory and liberating meanings for women.

    Goldwyn’s incisive expose is a retrospective of the sights and spectacles of burlesque’s golden age—and an intimate look at the women whose sexuality, ambition, and verve brought the cabaret stage to life. Today, as burlesque enters a heady resurgence worldwide—with festivals around the globe, popular books like Burlesque Fetish and The Burlesque Handbook, and even a School of Burlesque in New York City—Pretty Things offers a unique and exciting look at its formative past and its earliest heroines.

    The indie music world is littered with females who have not only withstood the racket of punk’s intolerance, but have twisted our societal notions of femininity in knots.Raha focuses on the United States and England in the 70s and 80s, and illuminates how the seminal women of this time shaped the female rockers of the 90s and today. Groups profiled range from The Runaways, The Slits, and The Plasmatics to L7, Sleater-Kinney, and Le Tigre. The book includes women not often featured in "women in rock" titles, such as Exene Cervenka of X, Eve Libertine and Joy de Vivre of Crass, and Poison Ivy Rorschach of the Cramps. Includes rare interviews and more than forty B&W photos.

    It offers a careful, thought provoking discussion of the reasons men have encouraged this obsession and women have embraced it. It is a book about women's efforts to become thin rather than to accept the natural dimensions of their bodies--a book about the meaning of food and its rejection.

    The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter's lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch's work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision.This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch's understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver's account of Bosch's artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artistGÇÖs drawings in relation to his paintings. Hieronymus Bosch is also unique in how securely it places its subject's work in the broader history of painting in the Low Countries: Silver identifies sources of BoschGÇÖs iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch's pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of BoschGÇÖs intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.

    Addressing the question of why men should care about feminism in the first place, Men and Feminism lays the foundation for a larger discussion about feminism as a human issue, not simply a women's issue. Men are crucial to the movement—as fathers, brothers, husbands, boyfriends, and friends. From "why" to "how" to "what can men do", Men and Feminism answers all the questions men have about how and why they should get behind feminism.

    Choice of dress has always been affected by numerous influences-social and economic, artistic and technical-and, or course, the vagaries of individual taste.

    Offering spare, tightly executed essays, this slim volume nonetheless succeeds in creating a spectacular, well-researched compendium of the transgender movement." -Law Library JournalOver the past three decades, the transgender movement has gained visibility and achieved significant victories. Discrimination has been prohibited in several states, dozens of municipalities, and more than two hundred private companies, while hate crime laws in eight states have been amended to include gender identity. Yet prejudice and violence against transgender people remain all too common. With analysis from legal and policy experts, activists and advocates, Transgender Rights assesses the movement’s achievements, challenges, and opportunities for future action. Examining crucial topics like family law, employment policies, public health, economics, and grassroots organizing, this groundbreaking book is an indispensable resource in the fight for the freedom and equality of those who cross gender boundaries. Moving beyond media representations to grapple with the real lives and issues of transgender people, Transgender Rights will launch a new moment for human rights activism in America. Contributors: Kylar W. Broadus, Judith Butler, Mauro Cabral, Dallas Denny, Taylor Flynn, Phyllis Randolph Frye, Julie A. Greenberg, Morgan Holmes, Bennett H. Klein, Jennifer L. Levi, Ruthann Robson, Nohemy Solórzano-Thompson, Dean Spade, Kendall Thomas, Paula Viturro, Willy Wilkinson. Paisley Currah is associate professor of political science at Brooklyn College, executive director of the Center for Lesbian and Gay Studies at the CUNY Graduate Center, and a founding board member of the Transgender Law and Policy Institute. Richard M. Juang cochairs the advisory board of the National Center for Transgender Equality (NCTE) in Washington, DC. He has taught at Oberlin College and Susquehanna University. He is the lead editor of NCTE's Responding to Hate Crimes: A Community Resource Manual and coeditor of Transgender Justice, which explores models of activism.Shannon Price Minter is legal director of the National Center for Lesbian Rights and a founding board member of the Transgender Law and Policy Institute.

    In And Short the Season she muses on mortality: her own and that of the earth. Always deeply personal, always political, these poems blend myth and modernity, fecundity and death, and the violence and tenderness of humankind.

    Warner tells the unexpected and often disturbing story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self in modern times. She probes the perceived distinctions between fantasy and deception, and uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture.