She tackles the reality of what we do and don't know about virginity and provides a sweeping tour of virgins in history--from virgin martyrs to Queen Elizabeth to billboards in downtown Baltimore telling young women it's not a "dirty word." Virgin proves, as well, how utterly contemporary the topic is--the butt of innumerable jokes, center of spiritual mysteries, locus of teenage angst, popular genre for pornography and nucleus around which the world's most powerful government has created an unprecedented abstinence policy. In this fascinating work, Hanne Blank shows for the first time why this is, and why everything we think we know about virginity is wrong.

    Published posthumously in Germany in the early 1920's, it has become a constitutive part of the modern sociological imagination. Economy and Society was the first strictly empirical comparison of social structures and normative orders in world-historical depth, containing the famous chapters on social action, religion, law, bureaucracy, charisma, the city, and the political community with its dimensions of class, status and power.Economy and Status is Weber's only major treatise for an educated general public. It was meant to be a broad introduction, but in its own way it is the most demanding textbook yet written by a sociologist. The precision of its definitions, the complexity of its typologies and the wealth of its historical content make the work a continuos challenge at several levels of comprehension: for the advanced undergraduate who gropes for his sense of society, for the graduate student who must develop his own analytical skills, and for the scholar who must match wits with Weber.When the long-awaited first complete English edition of Economy and Society was published in 1968, Arthur Stinchcombe wrote in the American Journal of Sociology: "My answer to the question of whether people should still start their sociological intellectual biographies with Economy and Society is yes." Reinhard Bendix noted in the American Sociological Review that the "publication of a compete English edition of Weber's most systematic work [represents] the culmination of a cultural transmission to the American setting...It will be a study-guide and compendium for years to come for all those interested in historical sociology and comparative study."In a lengthy introduction, Guenther Roth traces the intellectual prehistory of Economy and Society, the gradual emergence of its dominant themes and the nature of its internal logic.Mr. Roth is a Professor of Sociology at Columbia University. Mr. Wittich heads an economic research group at the United Nations.

    The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me," culture uses art to dream the deaths of beautiful women.

    Whether one is dealing with the state, the Mafia, parents, pimps, police, or husbands, writes Brown, the heavy price of institutionalized protection is always a measure of dependence and agreement to abide by the protector's rules. True democracy, she insists, requires sharing power, not regulation by it; freedom, not protection.Refusing any facile identification with one political position or another, Brown applies her argument to a panoply of topics, from the basis of litigiousness in political life to the appearance on the academic Left of themes of revenge and a thwarted will to power. These and other provocations in contemporary political thought and political life provide an occasion for rethinking the value of several of the last two centuries' most compelling theoretical critiques of modern political life, including the positions of Nietzsche, Marx, Weber, and Foucault.

    Valerie Solanas, the woman who shot Andy Warhol, self-published this work just before her rampage against the king of Pop Art made her a household name and resulted in her confinement to a mental institution. But the Manifesto, for all its vitriol, is impossible to dismiss as just the rantings of a lesbian lunatic. In fact, the work has indisputable prescience, not only as a radical feminist analysis light-years ahead of its timepredicting artificial insemination, ATMs, a feminist uprising against under-representation in the artsbut also as a stunning testament to the rage of an abused and destitute woman.The focus of this edition is not on the nostalgic appeal of the work, but on Avital Ronell’s incisive introduction, “Deviant Payback: The Aims of Valerie Solanas.” Here is a reconsideration of Solanas’s infamous text in light of her social milieu, Derrida’s “The Ends of Man” (written in the same year), Judith Butler’s Excitable Speech, Nietzsche’s Ubermensch and notorious feminist icons from Medusa, Medea and Antigone, to Lizzie Borden, Lorenna Bobbit and Aileen Wournos, illuminating the evocative exuberance of Solanas’s dark tract.

    If pre-industrial societies were held together by common values, sentiments, and norms, equally shared by all, what holds modern societies, with their complex division of labor and non-cohesive social structure, together? What did this new social order mean for the autonomy of the individual? Durkheim argued that class conflict is not inherent in a capitalist society, as Marx contended, but that the unfettered growth of state power would lead to the extinction of individuality. Only in a free society that promotes voluntary bonds between its members, Durkheim suggested, can individuality prosper.In this new edition, the first since 1984, world-renowned Durkheim scholar Steven Lukes revisits and revises the original translation to enhance clarity, accuracy, and fluency for the contemporary reader. Lukes also highlights Durkheim’s arguments by putting them into historical context with a timeline of important information. For students and scholars, this edition of The Division of Labor is essential reading and key to understanding the relevance of Durkheim’s ideas today.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    While acknowledging the many women whose contributions to visual culture since the Middle Ages have often been neglected, Whitney Chadwick's survey reexamines the works themselves and the ways in which they have been perceived as marginal, often in direct reference to gender. In her discussion of feminism and its influence on such a reappraisal, the author also addresses the closely related issues of ethnicity, class, and sexuality.This expanded edition incorporates recent developments in contemporary art. Chadwick addresses the turn toward autobiography in much recent women's art. She considers issues such as the personal versus the political and the private versus the public, and analyzes the differences between women's art today and the seminal feminist work of the 1970s and 1980s.

    By examining the perilous intersections of identity, categorization, and community, contributors challenge societal mores and countercultural norms. Nobody Passes explores and critiques the various systems of power seen (or not seen) in the act of “passing.” In a pass-fail situation, standards for acceptance may vary, but somebody always gets trampled on. This anthology seeks to eliminate the pressure to pass and thereby unearth the delicious and devastating opportunities for transformation that might create.Mattilda, aka Matt Bernstein Sycamore, has a history of editing anthologies based on brazen nonconformity and gender defiance. Mattilda sets out to ask the question, “What lies are people forced to tell in order to gain acceptance as 'real'.” The answers are as varied as the life experiences of the writers who tackle this urgent and essential topic.

    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

    Featuring essays by such prominent scholars as Judith Butler, John D'Emilio, Kobena Mercer, Adrienne Rich, Gayle Rubin, and Eve Kosofsky Sedgwick, The Lesbian and Gay Studies Reader explores a multitude of sexual, ethnic, racial, and socio-economic experiences.Ranging across disciplines including history, literature, critical theory, cultural studies, African American studies, ethnic studies, sociology, anthropology, psychology, classics, and philosophy, this anthology traces the inscription of sexual meanings in all forms of cultural expression. Representing the best and most significant English language work in the field, The Lesbian and Gay Studies Reader addresses topics such as butch-fem roles, the cultural construction of gender, lesbian separatism, feminist theory, AIDS, safe-sex education, colonialism, S/M, Oscar Wilde, Gertrude Stein, children's books, black nationalism, popular films, Susan Sontag, the closet, homophobia, Freud, Sappho, the media, the hijras of India, Robert Mapplethorpe, and the politics of representation. It also contains an extensive bibliographical essay which will provide readers with an invaluable guide to further reading.Contributors: Henry Abelove, Tomas Almaguer, Ana Maria Alonso, Michele Barale, Judith Butler, Sue-Ellen Case, Danae Clark, Douglas Crimp, Teresa de Lauretis, John D'Emilio, Jonathan Dollimore, Lee Edelman, Marilyn Frye, Charlotte Furth, Marjorie Garber, Stuart Hall, David Halperin, Phillip Brian Harper, Gloria T. Hull, Maria Teresa Koreck, Audre Lorde, Biddy Martin, Deborah E. McDowell, Kobena Mercer, Richard Meyer, D. A. Miller, Serena Nanda, Esther Newton, Cindy Patton, Adrienne Rich, Gayle Rubin, Joan W. Scott, Daniel L. Selden, Eve Kosofsky Sedgwick, Barbara Smith, Catharine R. Stimpson, Sasha Torres, Martha Vicinus, Simon Watney, Harriet Whitehead, John J. Winkler, Monique Wittig, and Yvonne Yarbro-Bejarano

    As he walks with us through dark territories, he points out the significant and reflects on its meaning.”—Mary Pipher, Ph.D., author of Reviving OpheliaThe passage from adolescence to adulthood was once clear. Today, growing up has become more complex and confusing, as young men drift casually through college and beyond—hanging out, partying, playing with tech toys, watching sports. But beneath the appearance of a simple extended boyhood, a more dangerous social world has developed, far away from the traditional signposts and cultural signals that once helped boys navigate their way to manhood—a territory Michael Kimmel has identified as "Guyland."In mapping the troubling social world where men are now made, Kimmel offers a view into the minds and times of America's sons, brothers, and boyfriends, and he works toward redefining what it means to be a man today—and tomorrow. Only by understanding this world and this life stage can we enable young men to chart their own paths, stay true to themselves, and emerge safely from Guyland as responsible and fully formed male adults.

    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.

    This provocative book undertakes a new and challenging reading of recent semiotic and structuralist theory, arguing that films, novels, and poems cannot be studied in isolation from their viewers and readers.

    Since its initial publication in 1983, it has become an essential text on Black women's lives and writings. This edition features an updated lists of contributor biographies and an all-new preface that provides a fresh assessment of how Black women's lives have changed- or not- since the book was first published.Includes:For a godchild, Regina, on the occasion of her first love by Toi DerricotteThe damned by Toi DerricotteHester's song by Toi DerricotteThe sisters by Alexis De VeauxDebra by Michelle T. ClintonIf I could write this in fire, I would write this in fire by Michelle CliffThe blood - yes, the blood: a conversation by Cenen and Barbara SmithSomething Latino was up with us by Spring ReddI used to think by Chirlane McCrayThe black back-ups by Kate RushinHome by Barbara SmithUnder the days: the buried life and poetry of Angelina Weld Grimké by Akasha (Gloria) HullThe black lesbian in American literature: an overview by Ann Allen ShockleyArtists without art form by Renita WeemsI've been thinking of Diana Sands by Patricia JonesA cultural legacy denied and discovered : black lesbians in fiction by women by Jewelle L. GomezWhat it is I think she's doing anyhow: a reading of Toni Cade Bambara's The salt eaters by Akasha (Gloria) HullTar beach by Audre LordeBefore I dress and soar again by Donna AllegraLeRoy's birthday by Raymina Y. MaysThe wedding by Beverly SmithMaria de las Rosas by Becky BirthaMiss Esther's land by Barbara A. BanksThe failure to transform: homophobia in the black community by Cheryl ClarkeWhere will you be? by Pat ParkerAmong the things that use to be by Willie M. ColemanFrom sea to shining sea by June JordanWomen of summer by Cheryl ClarkeThe tired poem: last letter from a typical unemployed black professional woman by Kate RushinShoes are made for walking by Shirley O. SteeleBilly de Lye by Deidre McCallaThe Combahee River Collective statement by Combahee River CollectiveBlack macho and black feminism by Linda C. PowellBlack lesbianbyfeminist organizing: a conversation by Tania Abdulahad ... [et al.]For strong women by Michelle T. ClintonThe black goddess by Kate RushinWomen's spirituality: a household act by Luisah TeishOnly justice can stop a curse by Alice WalkerCoalition politics: turning the century by Bernice Johnson Reagon