Women and Empire, 1750-1939: Primary Sources on Gender and Anglo-Imperialism functions to extend significantly the range of the History of Feminism series (co-published by Routledge and Edition Synapse), bringing together the histories of British and American women's emancipation, represented in earlier sets, into juxtaposition with histories produced by different kinds of imperial and colonial governments. The alignment of writings from a range of Anglo-imperial contexts reveals the overlapping histories and problems, while foregrounding cultural specificities and contextual inflections of imperialism. The volumes focus on countries, regions, or continents formerly colonized (in part) by Britain: Volume I: Australia Volume II: New Zealand Volume III: Africa Volume IV: India Volume V: Canada Perhaps the most novel aspect of this collection is its capacity to highlight the common aspects of the functions of empire in their impact on women and their production of gender, and conversely, to demonstrate the actual specificity of particular regional manifestations. Concerning questions of power, gender, class and race, this new Routledge-Edition Synapse Major Work will be of particular interest to scholars and students of imperialism, colonization, women's history, and women's writing.

A Vindication of the Rights of Woman, Mary Wollstonecraft's passionate work supporting women's rights, is considered to be among the very first examples of feminist philosophy. When it appeared in 1792, Wollstonecraft's treatise sets out a range of what were at the time radical beliefs; she thought all women should have a formal education, so that they may raise their children to be keener in mind as well as prove able conversationalists with their husbands. Wollestonecraft by no means unreservedly supports marriage: she states that women should not be thought of merely as items to be bandied about and wed, but as human beings capable of great intellect. Wollstonecraft also lambastes the prevailing social picture of women; that they have a number of fixed, narrow and often domestic duties. She also singles out how women are expected to behave, criticizing in particular the notion that the highest aspiration of a woman is to be a sentimental heroine in a popular romance novel.

Critically analyzes the discursive relationship between cultural value and popular feminism in American television. While American television has long relied on a strategic foregrounding of feminist politics to promote certain programming's cultural value, Woman Up: Invoking Feminism in Quality Television is the first sustained critical analysis of the twenty-first-century resurgence of this tradition. In Woman Up, Julia Havas's central argument is that postmillennial "feminist quality television" springs from a rhetorical subversion of the (much-debated) masculine-coded "quality television"culture on the one hand and the dominance of postfeminist popular culture on the other. Postmillennial quality television culture promotes the idea of aesthetic-generic hierarchies among different types of scripted programming. Its development has facilitated evaluative academic analyses of television texts based on aesthetic merit, producing a corpus of scholarship devoted to pinpointing where value resides in shows considered worthy of discussion. Other strands of television scholarship have criticized this approach for sidestepping the gendered and classed processes of canonization informing the phenomenon. Woman Up intervenes in this debate by reevaluating such approaches and insisting that rather than further fostering or critiquing already prominent processes of canonization, there is a need to interrogate the cultural forces underlying them. Via detailed analyses of four TV programs emerging in the early period of the "feminist quality TV" trend-30 Rock (2006-13), Parks and Recreation (2009-15), The Good Wife (2009-16), and Orange Is the New Black (2013-19)-Woman Up demonstrates that such series mediate their cultural significance by combining formal aesthetic exceptionalism and a politicized rhetoric around a "problematic" postfeminism, thus linking ideals of political and aesthetic value. Woman Up will most appeal to students and scholars of cinema and media studies, feminist media studies, television studies, and cultural studies.

Barbara Hammer: Pushing Out of the Frame by Sarah Keller explores the career of experimental filmmaker and visual artist Barbara Hammer. Hammer first garnered attention in the early 1970s for a series of films representing lesbian subjects and subjectivity. Over the five decades that followed, she made almost a hundred films and solidified her position as a pioneer of queer experimental cinema and art. In the first chapter, Keller covers Hammer's late 1960s-1970s work and explores the tensions between the representation of women's bodies and contemporary feminist theory. In the second chapter, Keller charts the filmmaker's physical move from the Bay Area to New York City, resulting in shifts in her artistic mode. The third chapter turns to Hammer's primarily documentary work of the 1990s and how it engages with the places she travels, the people she meets, and the histories she explores. In the fourth chapter, Keller then considers Hammer's legacy, both through the final films of her career-which combine the methods and ideas of the earlier decades-and her efforts to solidify and shape the ways in which the work would be remembered. In the final chapter, excerpts from the author's interviews with Hammer during the last three years of her life offer intimate perspectives and reflections on her work from the filmmaker herself. Hammer's full body of work as a case study allows readers to see why a much broader notion of feminist production and artistic process is necessary to understand art made by women in the past half century. Hammer's work-classically queer and politically feminist-presses at the edges of each of those notions, pushing beyond the frames that would not contain her dynamic artistic endeavors. Keller's survey of Hammer's work is a vital text for students and scholars of film, queer studies, and art history.

Since the 1980s the number of women regularly directing films has increased significantly in most Western countries: in France, Claire Denis and Catherine Breillat have joined Agnes Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the Thinking Cinema series draws on feminist theorists and critics from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities.Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency,and avoiding the most important questions about how cinema can 'do justice' to female subjectivity: Kate Ince suggests that the films of independent women directors are progressively redressing the balance, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011.

Examines the role that parenting, as a theme and practice, plays in film and media cultures. Mothers of Invention: Film, Media, and Caregiving Labor constructs a feminist genealogy that foregrounds the relationship between acts of production on the one hand and reproduction on the other. In this interdisciplinary collection, editors So Mayer and Corinn Columpar bring together film and media studies with parenting studies to stake out a field, or at least a conversation, that is thick with historical and theoretical dimension and invested in cultural and methodological plurality. In four sections and sixteen contributions, the manuscript reflects on how caregiving shapes the work of filmmakers, how parenting is portrayed on screen, and how media contributes to radical new forms of care and expansive definitions of mothering. Featuring an exciting array of approaches-including textual analysis, industry studies, ethnographic research, production histories, and personal reflection-Mothers of Invention is a multifaceted collection of feminist work that draws on the methods of both the humanities and the social sciences, as well as the insights borne of both scholarship and lived experience. Grounding this inquiry is analysis of a broad range of texts with global reach-from the films Bashu, The Little Stranger (Bahram Beyzai, 1989), Prevenge (Alice Lowe, 2016), and A Deal with the Universe (Jason Barker, 2018) to the television series Top of the Lake(2013-2017) and Jane the Virgin (2014-2019), among others-as well as discussion of the creative practices, be they related to production, pedagogy, curation, or critique, employed by a wide variety of film and media artists and/or scholars. Mothers of Invention demonstrates how the discourse of parenting and caregiving allows the discipline to expand its discursive frameworks to address, and redress, current theoretical, political, and social debates about the interlinked futures of work and the world. This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies.

A wide-reaching collection of groundbreaking feminist documents from around the world Feminist Manifestos is an unprecedented collection of 150 documents from feminist organizations and gatherings in over 50 countries over the course of three centuries. In the first book of its kind, the manifestos are shown to contain feminist theory and recommend actions for change, and also to expand our very conceptions of feminist thought and activism. Covering issues from political participation, education, religion and work to reproduction, violence, racism, and environmentalism, the manifestos together challenge simplistic definitions of gender and feminist movements in exciting ways. In a wide-ranging introduction, Penny Weiss explores the value of these documents, especially how they speak with and to each other. In addition, an introduction to each individual document contextualizes and enhances our understanding of it. Weiss is particularly invested in how communities work together toward social change, which is demonstrated through her choice to include only collectively authored texts. By assembling these documents into an accessible volume, Weiss reveals new possibilities for social justice and ways to advocate for equality. A unique and inspirational collection, Feminist Manifestos expands and evolves our understanding of feminism through the self-described agendas of women from every ethnic group, religion, and region in the world.

This collection of essays takes up the most famous feminist sentence ever written, Simone de Beauvoir's "On ne nait pas femme: on le devient," finding in it a flashpoint that galvanizes feminist thinking and action in multiple dimensions. Since its publication, the sentence has inspired feminist thinking and action in many different cultural and linguistic contexts. Two entangled controversies emerge in the life of this sentence: a controversy over the practice of translation and a controversy over the nature and status of sexual difference. Variously translated into English as "One is not born, but rather becomes a woman" (Parshley, 1953), "one is not born but rather becomes woman" (Borde and Malovany-Chevallier, 2010), and "women are made, not born" (in popular parlance), the conflict over the translation crystallizes the feminist debate over the possibilities and limitations of social construction as a theory of sexual difference. When Sheila Malovany-Chevallier and Constance Borde (contributors to this volume), translated Le Deuxieme Sexe into English in 2010, their decision to alter the translation of the famous sentence by omitting the "a" ignited debate that has not yet exhausted itself. The controversy over the English translation has opened a conversation about translation practices and their relation to meaning more generally, and broadens, in this volume, into an examination of the life of Beauvoir's key sentence in other languages and political and cultural contexts as well. The philosophers, translators, literary scholars and historian who author these essays take decidedly different positions on the meaning of the sentence in French, and thus on its correct translation in a variety of languages-but also on the meaning and salience of the question of sexual difference as it travels between languages, cultures, and political worlds.

Feminist Theory After Deleuze addresses the encounter between one of the 20th century's most important philosophers, Gilles Deleuze, and one of its most significant political and intellectual movements, feminism. Feminist theory is a broad, contradictory, and still evolving school of thought. This book introduces the key movements within feminist theory, engaging with both Anglo-American and French feminism, as well as important strains of feminist thought that have originated in Australia and other parts of Europe. Mapping both the feminist critique of Deleuze's work and the ways in which it has brought vitality to feminist theory, this book brings Deleuze into dialogue with significant thinkers such as Simone de Beauvoir, Rosi Braidotti, Judith Butler, Elizabeth Grosz and Luce Irigaray. It takes key terms in feminist theory such as, 'difference', 'gender', 'bodies', 'desire' and 'politics' and approaches them from a Deleuzian perspective.

Renowned subject experts Michele A. Paludi and J. Harold Ellens lead readers through a detailed exploration of the feminist methods, issues, and theoretical frameworks that have made women central, not marginal, to religions around the world. At a conference in 2013, Gloria Steinem noted that religion is the "biggest problem" facing feminism today. In this insightful volume, a team of researchers, psychologists, and religious leaders led by editors Michele A. Paludi and J. Harold Ellens supply their expertise and informed opinions to examine the problems, spur understanding, and pose solutions to the conflicts between religion and women's rights, thereby advocating a global interest in justice and love for women. Examples of subjects addressed include the pro-life/pro-choice debate, feminism in new age thought, and the complex intersections of religion and feminism combined with gender, race, and ethnicity. The contributed work in this unique single-volume book enables a better understanding of how various religions view women-both traditionally and in the modern context-and how feminist thinking has changed the roles of women in some world religions. Readers will come away with clear ideas about how religious cultures can honor feminist values, such as family-friendly workplace policies, reproductive justice, and pay equity, and will be prepared to engage in conversation and constructive debate regarding how faith and feminism are interrelated today. Addresses feminism in several religions, including Buddhism, Christianity, Confucianism, Islam, Judaism, Sikhism, and Taoism Explores how theology speaks to women's experiences in the family, in relationships, at work, in politics, and in education, while also addressing atheist viewpoints and experiences Addresses a subject that is highly relevant in discussions focused on events in the Middle East and as the number of women becoming leaders of or top officials in various faiths continues to grow