This book discusses erotic and magical goddesses and heroines in several ancient cultures, from the Near East and Asia, and throughout ancient Europe; in prehistoric and early historic iconography, their magical qualities are often indicated by a magical dance or stance. It is a look at female display figures both cross-culturally and cross-temporally, through texts and iconography, beginning with figures depicted in very early Neolithic Anatolia, early and middle Neolithic southeast Europe--Bulgaria, Romania, and Serbia--continuing through the late Neolithic in East Asia, and into early historic Greece, India, and Ireland, and elsewhere across the world. These very similar female figures were depicted in Anatolia, Europe, Southern Asia, and East Asia, in a broad chronological sweep, beginning with the pre-pottery Neolithic, ca. 9000 BCE, and existing from the beginning of the second millennium of this era up to the present era. This book demonstrates the extraordinary similarities, in a broad geographic range, of depictions and descriptions of magical female figures who give fertility and strength to the peoples of their cultures by means of their magical erotic powers. This book uniquely contains translations of texts which describe these ancient female figures, from a multitude of Indo-European, Near Eastern, and East Asian works, a feat only possible given the authors' formidable combined linguistic expertise in over thirty languages. The book contains many photographs of these geographically different, but functionally and artistically similar, female figures. Many current books (academic and otherwise) explore some of the female figures the authors discuss in their book, but such a wide-ranging cross-cultural and cross-temporal view of this genre of female figures has never been undertaken until now. The "sexual" display of these female figures reflects the huge numinosity of the prehistoric divine feminine, and of her magical genitalia. The functions of fertility and apotropaia, which count among the functions of the early historic display and dancing figures, grow out of this numinosity and reflect the belief in and honoring of the powers of the ancient divine feminine.

The acceleration of economic globalization and the rapid global flows of people, cultural goods, and information have intensified the importance of developing transnational understandings of contemporary issues. Transnational feminist perspectives have provided a unique outlook on women's lives and have deepened our understanding of the gendered nature of global processes.Transnational Feminism in the United Statesexamines how transnational perspectives shape the ways in which we produce, consume, and disseminate knowledge about the world within the United States, and how the paradigm of transnational feminism is affected in nuanced ways by national narratives and public discourses within the country itself.An innovative theoretical project that is both deconstructive and constructive, this bookinterrogates the limits of feminist thought, primarily through case studies that illustrate its power to create entirely new fields of research out of traditionally interdisciplinary lines of inquiry. Leela Fernandes discusses ways to approach, analyze, and capture processes that exceed and unsettle the nation-state within the transnational feminist paradigm. Examining the links between power and knowledge that bind interdisciplinary theory and research, she shines new light on issues such as human rights and the United States war on terror as well as academic debates about transnational feminist perspectives on global issues. A commanding and thought-provoking analysis, Transnational Feminism in the United Statespowerfully contributes to central debates in the field of Women's Studies and related cross-disciplinary scholarship on feminist theory and gender from a global perspective.Leela Fernandesis Professor of Women's Studies and Political Science at the University of Michigan, and author ofIndia's New Middle Class: Democratic Politics in an Era of Economic Reform;Producing Workers: The Politics of Gender, Classand Culture in the Calcutta Jute Mills; andTransforming Feminist Practice.

Written by an international group of feminist scholars and activists, the book explores how the rise in right-wing politics, fundamentalist religion, and radical nationalism is constructed and results in gendered and racial violence. The chapters cover a broad range of international contexts and offer new ways of combating assaults and oppression to understand the dangers inherent within the current global political and social climate. The book includes a foreword by the distinguished critical activist, Antonia Darder, as well as a chapter by renowned feminist-scholar, Chandra Talpade Mohanty.

Li Ang (1952-) is a famous and prolific feminist writer from Taiwan who challenges and subverts sociocultural traditions through her daring explorations of sex, violence, women's bodies and desire, and national politics. As a taboo-breaking writer and social critic, she uses fiction to expose injustice and represent human nature. Her political engagement further affords her a visionary perspective for interrogating the problematic intersection of gender and politics. The ambivalence in her fictional representations invites controversies and debates. Her works have thus helped raise awareness of the problems, open up discussions, and bring about social and intellectual changes. Some of her works have been translated into such foreign languages as English, French, German, and Japanese. In her career spanning over forty years, she has won numerous literary awards. Li Ang's Visionary Challenges to Gender, Sex, and Politics is the first collection of critical essays in English on Li Ang and some of her most celebrated works. Contributing historians examine her vital roles in the Taiwanese women's movement and political arenas, as well as the social influence of her publications on extramarital affairs. Contributing literary scholars investigate the feminist controversy over her 1983 award-winning novel, Shafu (Killing the Husband; translated as The Butcher's Wife); offer alternative interpretative strategies such as looking into figurations of "biopower" and relationship dynamics; dissect the subtle political significance in her magnificent novel Miyuan (The labyrinthine garden; 1991) and explosive political fiction, Beigang xianglu renren cha (Everyone sticks incense into the Beigang censer; 1997) from the perspective of gender and national identity; scrutinize the multiple discursive levels in her superb novel Qishi yinyuan zhi Taiwan/Zhongguo qingren (Seven prelives of affective affinity: Taiwan/China lovers; 2009); and analyze the "(dis)embodied subversion" accomplished by her fantastic Kandejian de gui (Visible ghosts; 2004). As the first volume in English to examine Li Ang's trail-blazing discourse on gender, sex, and politics, this work will inspire more studies of her oeuvre and contribute usefully to the fields of modern Taiwanese and Chinese literature, feminist studies, and comparative literature.

From the debris of her troubled early life, Lidia Yuknavitch weaves an astonishing tale of survival. It is a life that navigates, and transcends, abuse, addiction, self-destruction and the crushing loss of a stillborn child. A kind of memoir that is also a paean to the pursuit of beauty, self-expression, desire - for men and women - and the exhilaration of swimming, The Chronology of Water lays a life bare.

By offering a new way of thinking about the role of politically engaged art, Susan Best opens up a new aesthetic field: reparative aesthetics. The book identifies an innovative aesthetic on the part of women photographers from the southern hemisphere, who against the dominant modes of criticality in political art, look at how cultural production can be reparative. The winner of the Art Association of Australia and New Zealand best book award in 2017, Reparative Aesthetics contributes an entirely new theory to the interdisciplinary fields of aesthetics, affect studies, feminist theory, politics and photography. Conceptually innovative and fiercely original this book will move us beyond old political and cultural stalemates and into new terrain for analysis and reflection.

In the wake of the violent labor disputes in Colorado's two-year Coalfield War, a young woman and single mother resolved in 1916 to change the status quo for 'girls,' as well-to-do women in Denver referred to their hired help. Her name was Jane Street, and this compelling biography is the first to chronicle her defiant efforts - and devastating misfortunes - as a leader of the so-called housemaid rebellion. A native of Indiana, Jane Street (1887 - 1966) began her activist endeavors as an organizer for the Industrial Workers of the World (IWW). In riveting detail, author Jane Little Botkin recounts Street's attempts to orchestrate a domestic mutiny against Denver's elitist Capitol Hill women, including wives of the state's national guard officers and Colorado Fuel and Iron operators. It did not take long for the housemaid rebellion to make local and national news. Despite the IWW's initial support of the housemaids' fight for fairness and better pay, Street soon found herself engaged in a gender war, the target of sexism within the very organization she worked so hard to support. The abuses she suffered ranged from sabotage and betrayal to arrests and abandonment. After the United States entered World War I and the first Red Scare arose, Street's battle to balance motherhood and labor organizing began to take its toll. Legal troubles, broken relationships, and poverty threatened her very existence. In previous western labor and women's studies accounts, Jane Street has figured only marginally, credited in passing as the founder of a housemaids' union. To unearth the rich detail of her story, Botkin has combed through case histories, family archives, and - perhaps most significant - Street's own writings, which express her greatest joys, her deepest sorrows, and her unfortunate dealings with systematic injustice. Setting Jane's story within the wider context of early-twentieth-century class struggles and the women's suffrage movement, The Girl Who Dared to Defy paints a fascinating - and ultimately heartbreaking - portrait of one woman's courageous fight for equality.

This first major study of feminist theory, revised and updated here into its fourth edition, now takes the reader into the twenty-first century. With the renewed interest in feminism, which has been called "the "fourth wave" of feminism - the "first wave" being the nineteenth-century movement, the "second wave" the developments between 1960-80, and the "third wave" the emergence in the 1990s of ecofeminism, global feminism, the intertwining of the women's rights and animal rights movements, and so-called postmodern feminism - people are re-engaging with the basic question, "What is feminism? What does it mean?" Donovan's book provides a clear answer to the question, outlining the various strands of feminist theory: liberal, cultural, Marxist-socialist, Freudian, and radical. This Fourth Edition brings the discussion up-to-date, integrating the developments in feminist theory that have emerged in the last two decades and particularly since the publication of the Third Edition (2000).

Toxic Loves, Impossible Futures is an homage to a constellation of women writers, feminists, and creators whose voices draw a map of our current global political-environmental crisis and the interlinked massive violence, enabled by the denigration of life and human relationships. In a world, in which ""a woman's voice"" exists in bodies called in to occupy important positions in corporations, government, cultural and academic institutions, to work in factories, to join the army, but whose bodies are systematically rendered vulnerable by gender violence and by the double burden imposed on us to perform both productive and reproductive labor, I ask what is the task of thought and form in contemporary feminist situated knowledge? Toxic Loves, Impossible Futures is a collection of essays rethinking feminist issues in the current context of the production of redundant populations, the omnipresence of the technosphere and environmental devastation, toxic relationships, toxic nationalisms, and more. These reflections and dialogues are an urgent attempt to resist the present in the company of the voices of women like bell hooks, Sarah Ahmed, Leslie Jamison, Lina Meruane, Leanne Simpson, Chris Kraus, AlaIde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica GonzAlez, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Paley, Raquel GutiErrez, etc. Toxic Loves, Impossible Futures continues the discussion on how to undo misogyny and dismantle heteropatriarchy's sublimating and denigrating tricks against women, which are intrinsically linked to colonialism and violence against the Earth.

We rely on two different conceptions of morality. On the one hand, we think of morality as a correct action guide. Morality is accessed by taking up a critical, reflective point of view where our concern is with identifying the moral rules that would be the focus of the requiring activities of persons in a hypothetical social world whose participants were capable of accessing the justifications for everyone's endorsing just this set of rules. On the other hand, in doing virtually anything connected with morality-making demands, offering excuses, justifying choices, expressing moral attitudes, getting uptake on our resentments, and the like-we rely on social practices of morality and shared moral understandings that make our moral activities and attitudes intelligible to others. This second conception of morality, unlike the first, is not shaped by the aim of getting it right or the contrast between correct and merely supposed moral requirements. It is shaped by the moral aim of practicing morality with others within an actual, not merely hypothetical, scheme of social cooperation. If practices based on misguided moral norms seem not to be genuine morality under the first conception, merely hypothetical practices seem not to be the genuine article under the second conception. The premise of this book, which collects together nine previously published essay and a new introduction, is that both conceptions are indispensable. But exactly how is the moral theorist to go about working simultaneously with two such different conceptions of morality? The book's project is not to construct an overarching methodology for handling the two conceptions of morality. Instead, it is to provide case studies of that work being done.

This edited collection contributes to the theoretical literature on social reproduction-defined by Marx as the necessary labor to arrive the next day at the factory gate-and extended by feminist geographers and others into complex understandings of the relationship between paid labor and the unpaid work of daily life. The volume explores new terrain in social reproduction with a focus on the challenges posed by evolving theories of embodiment and identity, nonhuman materialities, and diverse economies. Reflecting and expanding on ongoing debates within feminist geography, with additional cross-disciplinary contributions from sociologists and political scientists, Precarious Worlds explores the productive possibilities of social reproduction as an ontology, a theoretical lens, and an analytical framework for what Geraldine Pratt has called "a vigorous, materialist transnational feminism.

Sweta Srivastava Vikram is an award-winning writer, poet, novelist, author, essayist, columnist, blogger, and educator whose musings have translated into four chapbooks of poetry, two collaborative collections of poetry, a fiction novel, and an upcoming nonfiction book of prose and poems. Her work has appeared in several anthologies, literary journals, and online publications across six countries in three continents. A graduate of Columbia University, Sweta reads her work across the United States, Europe, and Asia. She also teaches creative writing workshops. Sweta lives in New York City with her husband. She has been nominated twice for the Pushcart Prize.
About this chapbook
Beyond the Scent of Sorrow delves into the challenges faced by women on a global level. The eucalyptus trees in southwest Portugal are used as an archetype to symbolically elicit the challenges women face in today's world. Boldly, the poems which are lyrical, literal, short, and succinct, profess the unkind capabilities of mankind.
Poets and Critics praise "Beyond the Scent of Sorrow"
"Sweta's poetic voice flows like water smoothing and shaping stones. With great skill she uncovers, sometimes tenderly and other times more forcefully, the shroud of fog surrounding the feminine archetype... she has created and nurtured a garden, a wordscape, in which trust and healing can flourish."
--Nick Purdon, author of The Road-shaped Heart
"Sweta Srivastava Vikram holds her work close. Fold it one way, a poem of loss appears. Fold it yet again for a poem of longing. Her work is as structurally sound as the elements. It soars with anticipation. Vikram reveals lovely and powerful poems that will long linger."
--Doug Mathewson, Editor Blink-Ink
Learn more at www.SwetaVikram.com
From the World Voices Series at Modern History Press www.ModernHistoryPress.com
POE005060 Poetry: American - Asian American
SOC028000 Social Science: Women's Studies - General
SOC010000 Social Science: Feminism & Feminist Theory

From the best-selling author of Americanah and We Should All Be Feminists comes a powerful new statement about feminism today - written as a letter to a friend. A few years ago, Chimamanda Ngozi Adichie received a letter from a dear friend from childhood, asking her how to raise her baby girl as a feminist. Dear Ijeawele is Adichie's letter of response. Here are fifteen invaluable suggestions-compelling, direct, wryly funny, and perceptive-for how to empower a daughter to become a strong, independent woman. From encouraging her to choose a helicopter, and not only a doll, as a toy if she so desires; having open conversations with her about clothes, makeup, and sexuality; debunking the myth that women are somehow biologically arranged to be in the kitchen making dinner, and that men can "allow" women to have full careers, Dear Ijeawele goes right to the heart of sexual politics in the twenty-first century. It will start a new and urgently needed conversation about what it really means to be a woman today.

Toni Morrison, the only living American Nobel laureate in literature, published her first novel in 1970. In the ensuing forty plus years, Morrison's work has become synonymous with the most significant literary art and intellectual engagements of our time. The publication of Home (May 2012), as well as her 2011 play Desdemona affirm the range and acuity of Morrison's imagination. Toni Morrison: Forty Years in The Clearing enables audiences/readers, critics, and students to review Morrison's cultural and literary impacts and to consider the import, and influence of her legacies in her multiple roles as writer, editor, publisher, reader, scholar, artist, and teacher over the last four decades. Some of the highlights of the collection include contributions from many of the major scholars of Morrison's canon: as well as art pieces, music, photographs and commentary from poets, Nikki Giovanni and Sonia Sanchez; novelist, A.J. Verdelle; playwright, Lydia Diamond; composer, Richard Danielpour; photographer, Timothy Greenfield-Sanders; the first published interview with Morrison's friends from Howard University, Florence Ladd and Mary Wilburn; and commentary from President Barack Obama. What distinguishes this book from the many other publications that engage Morrison's work is that the collection is not exclusively a work of critical interpretation or reference. This is the first publication to contextualize and to consider the interdisciplinary, artistic, and intellectual impacts of Toni Morrison using the formal fluidity and dynamism that characterize her work. This book adopts Morrison's metaphor as articulated in her Pulitzer-Prize winning novel, Beloved. The narrative describes the clearing as "a wide-open place cut deep in the woods nobody knew for what. . . . In the heat of every Saturday afternoon, she sat in the clearing while the people waited among the trees." Morrison's Clearing is a complicated and dynamic space. Like the intricacies of Morrison's intellectual and artistic voyages, the Clearing is both verdant and deadly, a sanctuary and a prison. Morrison's vision invites consideration of these complexities and confronts these most basic human conundrums with courage, resolve and grace. This collection attempts to reproduce the character and spirit of this metaphorical terrain.

Women Don't Owe You Pretty will tell you to... love sex, hate sexism, protect your goddamn energy, life is short, dump them, and that you owe men nothing, least of all pretty.

Florence's debut book will explore all progressive corners of the feminist conversation; from insecurity projection and refusing to find comfort in other women's flaws, to deciding whether to date or dump them, all the way through to unpacking the male gaze and how it shapes our identity.

Women Don't Owe You Pretty is an accessible leap into feminism, for people at all stages of their journey who are seeking to reshape and transform the way they view themselves. In a world that tells women we're either not enough or too much, it's time we stop directing our anger and insecurities onto ourselves, and start fighting back to reshape the toxic structures of our patriarchal society.

Florence's book will help you to tackle and challenge the limiting narrative you have been bombarded with your whole life, and determine feminism on your own terms.

The past thirty years have seen the emergence of a broad-ranging feminist theological critique of Christology. Speaking out of a range of Christian traditions, feminist theologians have exposed the androcentric character of classical Christology, drawing attention to the fact that women's voices in Scripture and in the history of theology have often gone and continue to go unheard. The theological consequences have been grave: Christ's liberating message of the full humanity of both women and men has been compromised by the patriarchal bias of its interpreters. Feminists have also argued that of all Christian doctrines Christology has been most often turned against women. Christological arguments have been used to reinforce an exclusively male image of God, and thus to legitimate men's superiority over women. Further, the image of Christ on the cross has contributed to women's acceptance of abuses of power, as it has often been interpreted as a model of passive submission to unjust suffering. Some feminists have argued for the total rejection of the doctrine of the cross. Others have concluded that Christianity and feminism are incompatible.
In this book, Arnfriour Guomundsdottir provides a lucid survey and analysis of the full range of such criticisms, as well as her own explicitly feminist retrieval and reconstruction of a theology of the cross. She argues that there is a redemptive message hidden in the cross of Christ that is valuable to women today. Despite its potential for abuse and its well-documented history of misuse against women, a theology of the cross can also affirm Jesus as a divine co-sufferer who brings good news to all who are poor and oppressed. Such a theology, Guomundsdottir contends, offers women meaning and strength from a God who takes human form and enters redemptively into their suffering."