Illuminating a formative period in the debate over sexual difference, this book contributes to our understanding of the origins of feminist thought. In late seventeenth-century England, female writers from diverse religious and political traditions confronted the question of women's subordination. Their feminist protests disturbed even those who championed women's education and defended female virtue. Some of these women, including Lady Mary Chudleigh and the Tory feminist Mary Astell, have attracted interest for their literary achievements and philosophical originality. This book approaches them from a new perspective, arguing that the primary impulse for their feminism was religious reformism: manifest in personal devotion, serious theological reflection and a vision for moral renewal and social justice. This reforming feminism, Sarah Apetrei argues, links Astell to the assertive women of dissenting and spiritualist traditions. Far from being a constraining influence on feminism, religion was a stimulus to new thinking about the status of women.

The Partition of the Indian Subcontinent in 1947 unleashed unprecedented violence. In Feminist Fiction and the Indian Partition of 1947, Indian scholar Priyanka Gupta explores how women were doubly suppressed and victimized before and after the partition. The violence, and the displacement of large populations, made this historical episode of separation more and more significant for women. Novels set during the Partition offer unique viewpoints and perspectives that have not previously been explored.

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.

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.

A study of the impact of sexism on black women during slavery, the historic devaluation of black womanhood, sexism among black men, racism within the women's movement and the black woman's involvement with feminism. Hooks refutes the antifeminist claim that black women have no need for an autonomous women's movement. She pushes feminist dialogue to new limits by claiming that all progressive struggles are significant only when they take place within a broadly defined feminist movement which takes as its starting point the immutable facts of race, class and gender.

United States Poet Laureate Natasha Trethewey (b. 1966) describes her mode as elegiac. Although the loss of her murdered mother informs each book, Trethewey's range of forms and subjects is wide. In compact sonnets, elegant villanelles, ballad stanzas, and free verse, she creates monuments to mixed-race children of colonial Mexico, African American soldiers from the Civil War, a beautiful prostitute in 1910 New Orleans, and domestic workers from the twentieth-century North and South.

Because her white father and her black mother could not marry legally in Mississippi, Trethewey says she was "given" her subject matter as "the daughter of miscegenation." A sense of psychological exile is evident from her first collection, "Domestic Work" (2000), to the recent "Thrall" (2012). Biracial people of the Americas are a major focus of her poetry and her prose book "Beyond Katrina," a meditation on family, community, and the natural environment of the Mississippi Gulf Coast.

The interviews featured within "Conversations with Natasha Trethewey" provide intriguing artistic and biographical insights into her work. The Pulitzer Prize-winning poet cites diverse influences, from Anne Frank to Seamus Heaney. She emotionally acknowledges Rita Dove's large impact, and she boldly positions herself in the southern literary tradition of Faulkner and Robert Penn Warren. Commenting on "Pastoral," "South," and other poems, Trethewey guides readers to deeper perception and empathy.

Rachel Loewen Walker's original study of Deleuze's theory of temporality advances a concept of the living present as a critical juncture through which novel meanings and activisms take flight in relation to new feminist materialisms, queer theory, Indigenous studies, and studies of climate. Drawing on literature, philosophy, popular culture, and community research, Loewen Walker unsettles the fierce linearity of our stories, particularly as they uphold fixed systems of gender, sexuality, and identity. Treading new ground for Deleuzian studies, this book focuses on the non-linearity of the living present to show that everything is within rather than outside of time. Through this critical re-evaluation, which takes in climate change, queer and trans politics, and Indigenous sovereignty, Queer and Deleuzian Temporalities "thickens" the present moment. By opening up multiple pasts and multiple futures we are invited to act with a deepened level of accountability to all possible timelines.

A funny and frock-filled story for modern children who don't just want sequins and sparkles on their dresses, from rising star Lily Murray and Waterstones Prize-winning illustrator, Jenny Lovlie. Lucy and Aunt Augusta are dress shopping. And, at the Fabulous Fashion Store, there are dresses to suit just about everyone. There are fancy dresses, frilly dresses, stripy dresses, silly dresses, sun dresses, fun dresses, blue dresses, green. . . But Lucy doesn't care about frills or lace. She wants a dress WITH POCKETS. And as she wades through the titchy dresses, witchy dresses, very, very itchy dresses, she starts to worry about where she's going to put her leaves, and nettles, and delicate petals, her magical spells and beautiful shells. . . The hunt is on: will Lucy find the dress of her dreams? A lighthearted story with a subtle feminist undertone that celebrates the joy of pockets, and how they can unleash the inquisitive, adventurous spirit of all young children.

From the mid-1960s to the mid-80s, feminist activism in North America and Europe reached its peak, animated by a disparate array of issues and ideas. Frontiers of Feminism compares Quebecois and Italian feminisms, revealing both the synergy between feminism and the left and the influence of American and French women's movements on those in Quebec and Italy. Revisiting struggles such as abortion, health and sexuality, wages for housework, and the quest for autonomy from masculine thought, Jacinthe Michaud brings an international perspective to major feminist themes, strategies, and modes of organizing.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cleo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cleo from 5 to 7. Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts-identification, framing the woman's body, and the female auteur-Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

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."

Drawing broadly on decolonial studies, postcolonial feminist scholarship, and studies on identity, this interdisciplinary edited volume brings together personal accounts written by female scholars who migrated from Latin America and joined universities in the Global North (Australia, the United States, and the Netherlands), and female scholars who moved from the Global North to teach in Latin American universities. The seven contributors examine how their lived experiences with gender, race, and place/displacement have impactedtheir social identities and on their roles as researchers and teachers. They describe how personal and intellectual negotiations in their new location have influenced their fight for plural forms of knowing and being. This book expands the debate on geopolitics of knowledge and the position of female scholars from the Global South beyond the United States as a site of experiences.

..".a perfect genius that makes the impossible in expression, possible; the unknowable in experience, knowable"
--Anya Achtenberg, author of "The Stories of Devil-Girl"
"Nickels" follows a biracial girl named "Little Miss So and So," from age 4-1/2 into adulthood. Told in a series of prose poems, "Nickels'" lyrical and inventive language conveys the dissociative states born of a world formed by persistent and brutal incest and homophobia. The dissociative states enable the child's survival and, ultimately, the adult's healing. The story is both heartbreaking and triumphant. Nickels is the groundbreaking debut of Minneapolis-area author and artist Christine Stark.
"Christine Stark has crafted a language and a diction commensurate with the shredding of consciousness that is a consequence of childhood sexual abuse. She brings us a wholly original voice in a riveting novel of desperation and love. Every sentence vibrates with a terrible beauty. Every sentence brings the news."
--Patricia Weaver Francisco, author of "Telling: A Memoir of Rape and Recovery"
"To be taken into the mind of a child can be an enchanting adventure, but to be taken into the mind of a child who is abused, confused, and taken for granted is a lingering, livid journey. I applaud her fortitude to bring an olden--too long ignored-- truth out of the darkness with blazing, innovative light."
--MariJo Moore, author of "The Diamond Doorknob"
"In "Nickels," Christine Stark, powerfully portrays the story of abuse and its impact on our lives. When this beautifully written and compelling story leaves, you are left wanting more. It's riveting; a book that will capture you from the beginning and carry you through the end. Everyone should read this book."
--Olga Trujillo, author of "The Sum of My Parts"
From the Reflections of America Series at Modern History Press www.ModernHistoryPress.com
Learn more at www.ChristineStark.com
FIC044000 Fiction: Contemporary Women
FIC018000 Fiction: Lesbian
SOC010000 Social Science: Feminism & Feminist Theory

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.

Feminist Ecocriticism examines the interplay of women and nature as seen through literary theory and criticism, drawing on insights from such diverse fields as chaos theory and psychoanalysis, while examining genres ranging from nineteenth-century sentimental literature to contemporary science fiction. The book explores the central claim of ecofeminism that there is a connection between environmental degradation and the subordination of women with the goal of identifying and fostering liberatory alternatives. Feminist Ecocriticism analyzes the work of such diverse women writers as Rachel Carson, Barbara Kingsolver, Ursula K. Le Guin, and Mary Shelley. By including chapters from a comparable number of women and men, this book dispels the notion that ecofeminism is relevant to and used by only female scholars. After uncovering the oppressive dichotomies of male/female and nature/culture that underlie contemporary environmental problems, Feminist Ecocriticism focuses specifically on emancipatory strategies employed by ecofeminist literary critics as antidotes, asking what our lives might be like as those strategies become increasingly successful in overcoming oppression. Thus, ecofeminism is not limited to the critique of literature, but also helps identify and articulate liberatory ideals that can be actualized in the real world, in the process transforming everyday life. Providing an alternative to rugged individualism, for example, ecofeminist literature promotes a more fulfilling sense of interrelationship with both community and the land. In the process of exploring literature from ecofeminist perspectives, the book reveals strategies of emancipation that have already begun to give rise to more hopeful ecological narratives. Feminist Ecocriticism provides a novel integration of two important strands of contemporary literary criticism that have often failed to make contact: feminist criticism and ecocriticism. The openness of both feminist criticism and ecocriticism to multiple, even incompatible perspectives, without the insistence on unitary definitions of their fields, has given rise to a new hybrid discipline: feminist ecocriticism."

Rebecca Brown has been dubbed "the great secret of American letters." This Seattle-based lesbian author is especially known for being a writers' writer, although her award-winning and widely translated book The Gifts of the Body is popular with an international reading audience. Unlike her more illustrious lesbian colleagues Sarah Waters and Jeanette Winterson, Rebecca Brown has been working in the shadows for the past thirty years to compose a challenging and highly rewarding oeuvre. Her writings form a fascinating countervoice to the current trend of homonormalization. Brown's unapologetic representations of violent or imbalanced same-sex relations and communities, as well as her fictional engagement with a history of homosexual stigmatization (and its continuation into the present), are of great cultural significance. Yet academic investigations of her oeuvre are still largely lacking. Thanks to its analysis of identities and identifications, this book covers the main areas that are of interest when studying Brown's oeuvre: the spheres of the social and the historical. In addition, the book reveals how literary texts like Brown's can resonate, substantiate, and inflect queer theory as well as social and psychoanalytic theories on (gendered or sexual) identifications. This book is the first study to examines critically the entire oeuvre of Rebecca Brown. It approaches Brown's work from the perspective of queer theory and social theory on identities and identifications. This framework is supplemented with critical appropriations of classic psychoanalytic thinking on the related concepts of incorporation, melancholia, and narcissism. Brown's closely considered writings offer an unusually rewarding case study in this respect, and require attention to both the spheres of the social and the historical. The book explores the processes of identity-formation in Brown's work in two social contexts: that of biological and queer kinship. It examines Brown's demythologization of the nuclear family and argues that in the context of queer kinship, too, Brown's presentations take the form of a critical examination (tackling taboo subjects such as identity-formation in positions of extreme dependency). The book also explores the historical identifications taking place in Brown's oeuvre, addressing their autobiographical nature and contesting a reading of Brown's characters as traditional "minority subjects" in full possession of their life stories.This is an important book for research on women writers, queer studies, and contemporary literature.

Can Conservatives represent women? Descriptively of course, they do. Conservative parties and organisations are increasingly feminised; conservative women sit in many of the world's parliaments; a few women have led conservative parties; and there are, and have been, Conservative Prime Ministers. But whether these women actually stand for women, act for women and re-gender representation is likely to invite greater contestation. Contributors to this edited collection address head-on the puzzle of conservative women who engage in gendered political representation but do so within a conservative setting. Individual chapters examine women's participation as conservative movement and party members, supporters, candidates, leaders, legislators and ministers - in countries ranging from Europe, the US, Argentina, Australia, New Zealand, Japan, Turkey and Morocco. Assessment is made of the nature of their representational contribution, and the relationship they have with conservative women's views in society.