Women and Art surveys the history of women in art and addresses the effects of feminist art history and art production. This book is among the first to offer a critical assessment of the role of feminism in art history and how it has presented and misrepresented women's roles in art. Seeking to counterbalance overwhelmingly pro-feminist narratives, it relies on evidence from artists, statisticians, and historians to support individual women artists while remaining critical of feminism. Cogent and persuasive, Women and Art stands as a key for students and researchers interested in art history, gender studies, feminism, and cultural studies.

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.

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

Unique volume articulating the "gender critical" feminist position 15 chapters by an interdisciplinary team of highly-regarded contributors Engages with an important - but highly polarised - political and social debate.

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.

"The Concise Companion to Feminist Theory" introduces readers to the broad scope of feminist theory over the last 35 years.
Introduces readers to the broad scope of feminist theory over the past 35 years.
Guides students along the cutting edge of current feminist theory.
Suitable for students and scholars of all fields touched by feminist thought.
Covers an exceptionally broad range of disciplines, discourses and feminist positions.
Organised around concepts rather than schools of feminism.

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."

This book presents the first feminist translation of Rosalia de Castro's seminal poetic anthology En las orillas del Sar [On the Edge of the River Sar] (1884). Rosalia de Castro (1837-1885) was an artist of vast poetic vision. Her understanding of human nature and her deep sensitivity to the injustices suffered by women and by such marginalized peoples as those of her native region, Galicia, are manifest in verses of universal yet rarely translated significance. An outspoken proponent of both women's rights and her region's cultural and political autonomy, Castro used her poetry as a vehicle through which to decry the crushing hardships both groups endured as Spain vaulted between progressive liberal and conservative reactionary political forces throughout the nineteenth century. Depending upon what faction held sway in the nation at any given time during Castro's truncated literary career, her works were either revered as revolutionary or reviled as heretical for the views they espoused. Long after her death by uterine cancer in 1885, Castro was excluded from the pantheon of Spanish literature by Restoration society for her unorthodox views. Compellingly, the poet's conceptualization of the individual and the national self as informed by gender, ethnicity, class, and language echoes contemporary scholars of cultural studies who seek to broaden present-day definitions of national identity through the incorporation of precisely these same phenomena. Thanks to the most recent works in Rosalian and Galician studies, we are now able to recuperate and reevaluate Rosalia de Castro's poems in their original languages for the more radical symbolism and themes they foreground related to gender, sexuality, race and class as they inform individual and national identities. However, although Castro's poetic corpus is widely accessible in its original languages, these important features of her verses have yet to be given voice in the small number of English translations of only a sub-set of her works that have been produced in the last century. As a result, our understanding of Castro's potential contributions to contemporary world poetries, gender studies, Galician and more broadly cultural studies is woefully incomplete. An English translation of Castro's works that is specifically feminist in its methodological orientation offers a unique and thought-provoking means by which to fill this void.

This book is a collection of feminist childhood studies stories from field research with educators, young children, and/or early childhood student-educators that explores the challenges, tensions, and possibilities of common worlds research methods for the 21st century. Grounded in a common worlding orientation, the contributing authors grapple with complex methodological understandings within postqualitative practices within settler colonial states: Australia, Canada, South Africa, and the Unites States. Each chapter presents a method the authors have put to work in their efforts to unsettle the interpretative power of Euro-Western developmental knowledges and anthropocentric frameworks to reimagine research amid the colonialist, social, and environmental challenges we face today. The research(ing) stories act as provocations for generating innovative, relational, and emergent methods to attend to the complexity of 21st-century childhoods. Just as developmental and sociological perspectives gave birth to new forms of inquiry within childhood studies in 19th-century industrialization and 20th-century urban change respectively, the 21st-century requires novel questions, practices, and methodologies to enhance the childhood studies lexicon. In the field ofchildhood studies, where settler colonial and neoliberal logics have so much clout, suchstrategies are crucial. Feminist Research for 21st-century Childhoods is an important and relevant read for anyone working and researching with children.

This is the first full-length biography of Frances Power Cobbe (1822-1904), Anglo-Irish reformer, feminist, and anti-vivisectionist Lori Williamson builds on original research, Cobbe's autobiography, and the work of later historians to analyze Cobbe's life as well as her ideological outlook.

A workhouse visitor, Cobbe campaigned strenuously against those in power for rights of women, the poor and of animals. A prominent critic of the Poor Law, she was also the first person to draw up a petition to control cruelty to animals. Using Cobbe's thoughts and activities as a catalyst, Power and Protest explores the issues of protest, reform, hierarchy, power, and gender, the relationship between men and women, humans and animals, and includes important work on pressure-group dynamics.

Given its wide-ranging scope, depiction of nineteenth-century British society and culture, and its exploration of the symbiotic relationships between ideology and the dynamics of protest, Power and Protest will attract students of history, social policy, and gender. Its emphasis on anti-vivisection activity provides a powerful basis for understanding power relations and the historical concept of rights.

Most critics and scholars have long assumed that the women's movement was almost exclusively a white middle-class women's affair. This book counters the prevailing view by putting the spotlight on some remarkable women from other backgrounds, such as African Americans Pauline Hopkins and Amy Jacques Garvey, Mexican American Maria Cristena Mena, and Chinese American Sui Sin Far. Also examined are the work of more obvious New Women, such as Charlotte Perkins Gilman.

This innovative volume highlights the relevance of globalization and the insights of gender studies and religious studies for feminist theology. Beginning with a discussion of position of the discipline at the turn of the twenty-first century, the handbook seeks to present an inclusive account of feminist theology in the early twenty-first century that acknowledges the reflection of women on religion beyond the global North and its forms of Christianity. Globalization is taken as the central theme, as the foremost characteristic of the context in which we do feminist theology today. The volume traces the impacts of globalization on gender and religion in specific geographical contexts, describing the implications for feminist theological thinking. A final section explores the changing contents of the field, moving towards new models of theology, distinct from both the structure and language of traditional Christian systematic theology and the forms of secular feminism. The handbook draws on material from several religious traditions and every populated continent, with chapters provided by a diverse team of international scholars.

Margarethe von Trotta (b. 1942) entered the film industry in the only way she could in the 1960s-as an actress. Throughout her career, von Trotta added thirty-two acting credits to her name; however, these credits came to a halt in 1975. Her ambition had always been to be a movie director. Though she viewed acting as a detour, it allowed her to be in the right place at the right time, and through her line of work she met such important directors as Rainer Werner Fassbinder and Volker Schloendorff. The latter would eventually provide her with the opportunity to codirect her first film, Die Verlohrene Ehre der Katharina Blum (The Lost Honor of Katharina Blum) in 1975. The debut's success ensured von Trotta's future in the film industry and launched her accomplished film directing career. In Margarethe von Trotta: Interviews, volume editor Monika Raesch furnishes twenty-four illuminating interviews with the auteur. Spanning three decades, from the mid-1980s until today, the interviews reveal not only von Trotta's life in the film industry, but also evolving roles of and opportunities provided to women over that time period. This collection of interviews presents the different dimensions of von Trotta through the lenses of film critics, scholars, and journalists. The volume offers essential reading for anyone seeking a better understanding of an iconic female movie director at a time when this possibility for women just emerged.

The fifth and final volume of the Collected Letters of Katherine Mansfield covers the almost thirteen months during which her attention at first was firmly set on a last chance medical cure, then finally on something very different--if death came to seem inevitable, how should one behave in the time that remained, so one could truly say one lived?
Mansfield's biographers, like her friends, have wondered at the seemingly extraordinary decision to ditch conventional medicine, for the bizarre choice of Gurdjieff's Institute for the Harmonious Development of Man at Fontainebleau. These letters show the clarity of mind and will that led to that decision, the courage and distress in making it, and the gaiety even once it was made. She went against what her education, her husband, and most of her friends would regard as reasonable, as she opted to spend her last months with Russian emigres and a strange assortment of Gurdjieff disciples (which she was not). But Fontainebleau give her the space and the incentive to shake free from the intellectualism that she thought the malaise of her time, as she worked at kitchen chores, took in the details of farm life, tried to learn Russian, and attempted to reach total honesty with herself. "If I were allowed one simple cry to God," she wrote in one of her last letters, "that cry would be I want to be REAL."

This edited volume focuses on gender and love as emerging through complex "entanglements and weavings". At a time when constructionist ideas are losing support, we interrogate theoretical paradigms to assess if constructionist notions still hold value or if new approaches are needed to address the effects of materiality and non-human agency. Without claiming any unison or definite answers, we offer situated, agential cuts into gender and love in various discursive-material phenomena, including Biblical and Rabbinic literature, ecosexual performance art, the writings of Ursula Le Guin and Angela Carter, butch identities, Bengali folktales, Ferzan OEzpetek's cinema, Golem literature, sexual pursuits in Danish nightlife, mother-daughter relationships, women warriors in the PKK, and BDSM performances. Artistic photographer Sara Davidmann has contributed to the book with the cover illustration and a creative afterword including seven photographs on the interaction between the photographer, her studio, and LGBTQ+ people.

This new biography explores the extraordinary life of Edith Craig (1869-1947), her prolific work in the theatre and her political endeavours for women's suffrage and socialism. At London's Lyceum Theatre in its heyday she worked alongside her mother, Ellen Terry, Henry Irving and Bram Stoker, and gained valuable experience. She was a key figure in creating innovative art theatre work. As director and founder of the Pioneer Players in 1911 she supported the production of women's suffrage drama, becoming a pioneer of theatre aimed at social reform. In 1915 she assumed a leading role with the Pioneer Players in bringing international art theatre to Britain and introducing London audiences to expressionist and feminist drama from Nikolai Evreinov to Susan Glaspell. She captured the imagination of Virginia Woolf, inspiring the portrait of Miss LaTrobe in her 1941 novel Between the Acts, and influenced a generation of actors, such as Sybil Thorndike and Edith Evans. Frequently eclipsed in accounts of theatrical endeavour by her younger brother, Edward Gordon Craig, Edith Craig's contribution both to theatre and to the women's suffrage movement receives timely reappraisal in Katharine Cockin's meticulously researched and wide-ranging biography, released for the seventieth anniversary of Craig's death.