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.

    Then two stars came along: Greta Garbo, who turned the femme fatale into a woman whose capacity for love and sacrifice made all other human emotions seem pale; and Norma Shearer, who succeeded in taking the ingenue to a place she'd never been: the bedroom. In their wake came a deluge of other complicated women-Marlene Dietrich, Jean Harlow, and Mae West, to name a few. Then, in July 1934, the draconian Production Code became the law in Hollywood and these modern women of the screen were banished, not to be seen again until the code was repealed three decades later.A thorough survey and a tribute to these films, Complicated Women reveals how this was the true Golden Age of women's films.

    Anne Kingston looks at wife backlash, and the new wave of neo-traditionalism that urges women to marry young; explores the apotheosis of abused wives and the strange celebration of wives who kill; and muses on the fact that Oprah Winfrey and Martha Stewart, two of the world's wealthiest and most influential women, are both unmarried. The result is an entertaining mix of social, sexual, historical, and economic commentary that is bound to stir debate even as it reframes our view of both women and marriage.

    The couples are John Ruskin and Effie Gray; Thomas Carlyle and Jane Welsh; John Stuart Mill and Harriet Taylor; George Eliot and G. H. Lewes; Charles Dickens and Catherine Hogarth.

    WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period, Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovic, Ana Mendieta, Annette Messager, and others, as well as important works made in those years by artists whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media, from painting and sculpture to photography, film, installation, and video, arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz.Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics, including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism, provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.Essays by: Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni SorkinArtists include: Marina Abramovic, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O'Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, Hannah Wilke

    They became medical celebrities: every week, eager crowds arrived at the hospital to observe their symptoms; they were photographed, sculpted, painted, and transformed into characters in novels. The remarkable story of their lives as patients in the clinic is a strange amalgam of intimate details and public exposure, science and religion, medicine and the occult, hypnotism, love, and theater. But who were Blanche, Augustine, and Geneviève? What role did they play in their own peculiar form of stardom? And what exactly were they suffering from? Hysteria-with its dramatic seizures, hallucinations, and reenactments of past traumas-may be an illness of the past, but the notions of femininity that lie behind it offer insights into disorders of the present.

    The popular image of the Regency continues to be mythologized by the hundreds of romance novels set in the period, which focus almost exclusively on wealthy, white, Christian members of the upper classes.But there are hundreds of fascinating women who don't fit history books limited perception of what was historically accurate for early 19th century England. Women like Dido Elizabeth Belle, whose mother was a slave but was raised by her white father's family in England, Caroline Herschel, who acted as her brother's assistant as he hunted the heavens for comets, and ended up discovering eight on her own, Anne Lister, who lived on her own terms with her common-law wife at Shibden Hall, and Judith Montefiore, a Jewish woman who wrote the first English language Kosher cookbook.As one of the owners of the successful romance-only bookstore The Ripped Bodice, Bea Koch has had a front row seat to controversies surrounding what is accepted as "historically accurate" for the wildly popular Regency period. Following in the popular footsteps of books like Ann Shen's Bad Girls Throughout History, Koch takes the Regency, one of the most loved and idealized historical time periods and a huge inspiration for American pop culture, and reveals the independent-minded, standard-breaking real historical women who lived life on their terms. She also examines broader questions of culture in chapters that focus on the LGBTQ and Jewish communities, the lives of women of color in the Regency, and women who broke barriers in fields like astronomy and paleontology. In Mad and Bad, we look beyond popular perception of the Regency into the even more vibrant, diverse, and fascinating historical truth.

    Doctors loathed this time-consuming procedure and for centuries relied on midwives. Later, they substituted the efficiency of mechanical devices, including the electric vibrator, invented in the 1880s. In The Technology of Orgasm, Rachel Maines offers readers a stimulating, surprising, and often humorous account of hysteria and its treatment throughout the ages, focusing on the development, use, and fall into disrepute of the vibrator as a legitimate medical device.

    She did not seem destined for wartime heroism. Yet, faced with the evils of Nazi violence and the German occupation of France, Noor joined the British Special Operations Executive and trained in espionage, sabotage, and reconnaissance. She returned to Paris under an assumed identity immediately before the Germans mopped up the Allies’ largest communications network in France. For crucial months of the war, Noor was the only wireless operator there sending critical information to London, significantly aiding the success of the Allied landing on D-Day. Code-named Madeleine, she became a high-value target for the Gestapo. When she was eventually captured, Noor attempted two daring escapes before she was sent to Dachau and killed just months before the end of the war.Carefully distilled from dozens of interviews, newly discovered manuscripts, official documents, and personal letters, Code Name Madeleine is both a compelling, deeply researched history and a thrilling tribute to Noor Inayat Khan, whose courage and faith guided her through the most brutal regime in history.

    A revised edition of Lee Maracle's visionary book which links teaching of her First Nations heritage with feminism.

    Though it was a small, poor country, England for most of those "hundred years" won the battles, sacked the towns and castles, and dominated the war. The protagonists of the Hundred Years War are among the most colorful in European history: Edward III, the Black Prince; Henry V, who was later immortalized by Shakespeare; the splendid but inept John II, who died a prisoner in London; Charles V, who very nearly overcame England; and the enigmatic Charles VII, who at last drove the English out. Desmond Seward's critically-acclaimed account of the Hundred Years War brings to life all of the intrigue, beauty, and royal to-the-death-fighting of that legendary century-long conflict."[Desmond Seward] is blessed with a talent for presenting historical facts in an accessible narrative.... An ideal author for recounting this complex period." -The Antioch Review

    Spanning the century between Victorian Britain and the current struggle for power in South Africa, the book takes up the complex relationships between race and sexuality, fetishism and money, gender and violence, domesticity and the imperial market, and the gendering of nationalism within the zones of imperial and anti-imperial power.

    Unger's book exceptionally well done. It's an admirable account of the marquis's two revolutions-one might even say his two lives-the French and the American. It also captures the private Lafayette and his remarkable wife, Adrienne, in often moving detail." -Thomas Fleming, author, Liberty!: The American Revolution"Harlow Unger's Lafayette is a remarkable and dramatic account of a life as fully lived as it is possible to imagine, that of Gilbert de Motier, marquis de Lafayette. To American readers Unger's biography will provide a stark reminder of just how near run a thing was our War of Independence and the degree to which our forefathers' victory hinged on the help of our French allies, marshalled for George Washington by his 'adopted' son, Lafayette. But even more absorbing and much less well known to the general reader will be Unger's account of Lafayette's idealistic but naive efforts to plant the fruits of the American democracy he so admired in the unreceptive soil of his homeland. His inspired oratory produced not the constitutional democracy he sought but the bloody Jacobin excesses of the French Revolution."-Larry Collins, coauthor, Is Paris Burning? and O Jerusalem!"A lively and entertaining portrait of one of the most important supporting actors in the two revolutions that transformed the modern world."-Susan Dunn, author, Sister Revolutions: French Lightning, American Light"Harlow Unger has cornered the market on muses to emerge as America's most readable historian. His new biography of the marquis de Lafayette combines a thoroughgoing account of the age of revolution, a probing psychological study of a complex man, and a literary style that goes down like cream. A worthy successor to his splendid biography of Noah Webster."-Florence King, Contributing Editor, National Review"Enlightening! The picture of Lafayette's life is a window to eighteenth- and nineteenth-century history."-Michel Aubert La Fayette

    Rosa Parks was often described as a sweet and reticent elderly woman whose tired feet caused her to defy segregation on Montgomery’s city buses, and whose supposedly solitary, spontaneous act sparked the 1955 bus boycott that gave birth to the civil rights movement. The truth of who Rosa Parks was and what really lay beneath the 1955 boycott is far different from anything previously written. In this important book, Danielle McGuire writes about the rape in 1944 of a twenty-four-year-old mother and sharecropper, Recy Taylor, who strolled toward home after an evening of singing and praying at the Rock Hill Holiness Church in Abbeville, Alabama. Seven white men, armed with knives and shotguns, ordered the young woman into their green Chevrolet, raped her, and left her for dead. The president of the local NAACP branch office sent his best investigator and organizer—Rosa Parks—to Abbeville. In taking on this case, Parks launched a movement that exposed a ritualized history of sexual assault against black women and added fire to the growing call for change.

    She published "A Vindication of the Rights of Woman"; travelled to revolutionary France and lived through the Terror and the destruction of the incipient French feminist movement; produced an illegitimate daughter; and married William Godwin before dying in childbed at the age of thirty-eight. Often embattled and bitterly disappointed, she never gave up her radical ideas or her belief that courage and honesty would triumph over convention. Winner of the Whitbread First Book Prize in 1974, this haunting biography achieved wide critical acclaim. Writing in the "New Statesman", J. H. Plumb called it, 'Wide, penetrating, sympathetic. There is no better book on Mary Wollstonecraft, nor is there likely to be'.