"One of the least understood and often maligned aspects of the Tokugawa Shogunate is the Ooku, or 'Great Interior, ' the institution within the shogun's palace, administered by and for the upper-class shogunal women and their attendants who resided there. Long the object of titillation and a favorite subject for off-the-wall fantasy in historical TV and film dramas, the actual daily life, practices, cultural roles, and ultimate missions of these women have remained largely in the dark, except for occasional explosions of scandal. In crystal-clear prose that is a pleasure to read, this new book, however, presents the Ooku in a whole new down-to-earth, practical light. After many years of perusing unexamined Ooku documents generated by these women and their associates, the authors have provided not only an overview of the fifteen generations of Shoguns whose lives were lived in residence with this institution, but how shoguns interacted differently with it. Much like recent research on imperial convents, they find not a huddled herd of oppressed women, but on the contrary, women highly motivated to the preservation of their own particular cultural institution. Most important, they have been able to identify "the culture of secrecy" within the Ooku itself to be an important mechanism for preserving the highest value, 'loyalty, ' that essential value to their overall self-interested mission dedicated to the survival of the Shogunate itself." - Barbara Ruch, Columbia University "The aura of power and prestige of the institution known as the ooku-the complex network of women related to the shogun and their living quarters deep within Edo castle-has been a popular subject of Japanese television dramas and movies. Brushing aside myths and fallacies that have long obscured our understanding, this thoroughly researched book provides an intimate look at the lives of the elite female residents of the shogun's elaborate compound. Drawing information from contemporary diaries and other private memoirs, as well as official records, the book gives detailed descriptions of the physical layout of their living quarters, regulations, customs, and even clothing, enabling us to actually visualize this walled-in world that was off limits for most of Japanese society. It also outlines the complex hierarchy of positions, and by shining a light on specific women, gives readers insight into the various factions within the ooku and the scandals that occasionally occurred. Both positive and negative aspects of life in the "great interior" are represented, and one learns how some of these high-ranking women wielded tremendous social as well as political power, at times influencing the decision-making of the ruling shoguns. In sum, this book is the most accurate overview and characterization of the ooku to date, revealing how it developed and changed during the two and a half centuries of Tokugawa rule. A treasure trove of information, it will be a vital source for scholars and students of Japan studies, as well as women's studies, and for general readers who are interested in learning more about this fascinating women's institution and its significance in Japanese history and culture." - Patricia Fister, International Research Center for Japanese Studies, Kyoto

In this provocative new book, Shritha Vasudevan argues that feminist international relations (IR) theory has inadvertently resulted in a biased worldview, the very opposite of what feminist IR set out to try to rectify. This book contests theoretical presumptions of Western feminist IR and attempts to reformulate it in contexts of non-Western cultures. Vasudevan deftly utilizes the theoretical constructs of IR to explore the ramifications for India. This hypothesis argues that the Convention on the Elimination of all forms of Discrimination Against Women (CEDAW) has predictive validity and is not a top-down norm but derived from the material and contingent experiences of nation states. This book enters the debate between feminist qualitative and quantitative IR through the lens of gender-based violence (GBV) under the CEDAW.

They are in different countries but share the same hell. Maria is one of 14 women lured from Mexico to Seattle, Washington, with the promise of a job, then held by force in a brothel and required to sexually service men 12 hours a day. Anna is a young mother from the Ukraine who left her husband and children there to take a job as a housecleaner in Italy, where she was put in a barred, guarded house and forced into prostitution. Nadia is an 11-year-old girl in Africa, kidnapped and forced to have sex with a militiaman daily, with a machete ever ready nearby should she refuse. All three women are part of horrific sex slavery that has drawn the attention of officials in countries around the globe. It is not rare; officials say it is increasing, at least partly due to the billions of dollars it brings in for organized crime. The U.S. State Department estimates 800,000 victims, mostly women and children, are trafficked for sex trade across nations each year and millions more are trafficked within countries - including the U.S., Britain, Spain, and the Netherlands. As a "Seattle Times" reporter explained when Maria's case hit the news there, the reality is that sex slaves for the most part are young women and teenaged girls who come from almost every one of the world's poorer countries and end up in almost every country where there is a combination of sexual demand and money. But they are also in undeveloped Africa, in prisons internationally, locked in forced marriages, or sold to men by parents.

In this book, Parrot and Cummings outline the scope and growth of the sex slave market today and explain the history with various elements - including economic, political, cultural, and religious - that make this trade difficult to fully expose, quell, combat, and shut down. We hear from girls and women around the world describing how sexual enslavement has tortured them physically, emotionally, and spiritually, whether they suffer at the hands of prison guards in Turkey, criminals in Washington, or buyers dealing with parents who sell their daughters for the sex slave trade in Greece, Belgium, or France. The authors also describe national and international efforts and legislation passed or in design to stop sex slavery. Successful countries and regions are spotlighted. Then Parrot and Cummings point out actions still needed to stop the sex slavery trade.

My exciting transition home from a life of serving in overseas missions was a dream come true. I met and married my "miracle" man. After an exquisite honeymoon in our beloved South Africa, soon after our return to Canada, he transformed into my worst nightmare - a monster determined to violate and destroy me as a person. My place of supposed safety and security, my own home, became my prison house of abuse. This is a story of unexpected shocking tragedy that turned into a triumph of freedom and safety. I have climbed diligently out of a deep dark pit of abuse, with the hope and help of a very present, loving God and many caring people along the way who helped me survive. I am now wearing the badge of honour of a survivor who feels intensely compassionate for those in similar situations. I have earned my latest degree at the "University of the Cross." My greatest desire is that many will be given hope and help as I take off the "duct tape" of silence on this very serious issue in the world and in the Church today.

Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?

When American explorers crossed the Texas Panhandle, they dubbed it part of the ""Great American Desert."" A ""sea of grass,"" the llano appeared empty, flat, and barely habitable. Contemporary developments - cell phone towers, oil rigs, and wind turbines - have only added to this stereotype. Yet in this lyrical ecomemoir, Shelley Armitage charts a unique rediscovery of the largely unknown land, a journey at once deeply personal and far-reaching in its exploration of the connections between memory, spirit, and place. Armitage begins her narrative with the intention to walk the llano from her family farm thirty meandering miles along the Middle Alamosa Creek to the Canadian River. Along the way, she seeks the connection between her father and one of the area's first settlers, Ysabel Gurule, who built his dugout on the banks of the Canadian. Armitage, who grew up nearby in the small town of Vega, finds this act of walking inseparable from the act of listening and writing. ""What does the land say to us?"" she asks as she witnesses human alterations to the landscape - perhaps most catastrophic the continued drainage of the land's most precious resource, the Ogallala Aquifer. Yet the llano's wonders persist: dynamic mesas and canyons, vast flora and fauna, diverse wildlife, rich histories. Armitage recovers the voices of ancient, Native, and Hispano peoples, their stories interwoven with her own: her father's legacy, her mother's decline, a brother's love. The llano holds not only the beauty of ecological surprises but a renewed realization of kinship in a world ever changing. Reminiscent of the work of Terry Tempest Williams and John McPhee, Walking the Llano is both a celebration of an oft-overlooked region and a soaring testimony to the power of the landscape to draw us into greater understanding of ourselves and others by experiencing a deeper connection with the places we inhabit.

Read the fascinating story of one of the greatest unsung figures of the nature conservation movement, founder of the RSPB and icon of early animal rights activism, Etta Lemon. A heroine for our times, Etta Lemon campaigned for fifty years against the worldwide slaughter of birds for extravagantly feathered hats. Her legacy is the RSPB, grown from an all-female pressure group of 1889 with the splendidly simple pledge: Wear No Feathers. Etta's long battle against 'murderous millinery' triumphed with the Plumage Act of 1921 - but her legacy has been eclipsed by the more glamorous campaign for the vote, led by the elegantly plumed Emmeline Pankhurst. This gripping narrative explores two formidable heroines and their rival, overlapping campaigns. Moving from the feather workers' slums to high society, from the first female political rally to the rise of the eco-feminist, it restores Etta Lemon to her rightful place in history - the extraordinary woman who saved the birds. ETTA LEMON was originally published in hardback in 2018 under the title of MRS PANKHURST'S PURPLE FEATHER. 'A great story of pioneering conservation.' KATE HUMBLE 'Quite brilliant. Meticulous and perceptive. A triumph of a book.' CHARLIE ELDER 'Shocking and entertaining. The surprising story of the campaigning women who changed Britain." VIRGINIA NICHOLSON 'A fascinating and moving story, vividly told.' JOHN CAREY 'A fascinating clash of two causes: rights for women and rights for birds to fly free not adorn suffragettes' hats. An illuminating story, provocative, well-researched and brilliantly told.' DIANA SOUHAMI

The Life and Work of Rosalba Carriera (1673-1757): The Queen of Pastel is the first extensive biographical narrative in English of Rosalba Carriera. It is also the first scholarly investigation of the external and internal factors that helped to create this female painter's unique career in eighteenth-century Europe. It documents the difficulties, complications, and consequences that arose then -- and can also arise today -- when a woman decides to become an independent artist. This book contributes a new, in-depth analysis of the interplay between society's expectations, generally accepted codices for gendered behaviour, and one single female painter's astute strategies for achieving success, as well as autonomy in her professional life as a famed artist. Some of the questions that the author raises are: How did Carriera manage to build up her career? How did she run her business and organize her own workshop? What kind of artist was Carriera? Finally, what do her self-portraits reveal in terms of self-enactment and possibly autobiographical turning points?

Author Dr. Nelly Maseda often wonders how she became successful, but her brothers didn't. She wonders how she survived a childhood raised by a single Dominican mother on public assistance who suffered from severe mood swings, rage, promiscuous sexual behavior, and cycles of depression. While Maseda pursued her degree at Cornell University, her brothers and cousins entered into a world of substance abuse and its related criminal activities and violence.

In Strangers in the Night, Maseda looks inside the dynamics of a family and describes the life of her mother, Nena-her early years in the Dominican Republic, immigration to the United States in 1959, her new life in New York City, and raising her children against the backdrop of rage, depression, and a questionable home life. She also shares the trajectory of her two brothers' lives to show that lessons can be learned from their experiences.

Maseda tells her mother's story from the perspective of her profession as a pediatrician to communicate to patients and others that we now live in a time where help exists to undo the damage that negative, early life experiences can do to minds and lives.

An Encouragement for the Heart
SEE WHAT HAPPENS WHEN GOD CALLS YOUR NAME

You dream of being used by God but think your life has been too rough, you have been through too much, or done too much for yourself.

If you want to find out if God could use you, join with Lorene Kimura to see how he used even the most unsuspecting women. The secret is not in the knowledge you have but being ready every day for the special time for when God calls your name. Describing herself as the "chosen child," Lorene never comprehended the entire meaning of that until much later in life, when God called her and she was ready to listen. Come on a journey, as you discover a fresh approach to a life for God, conquering the attitudes that would hold you back. God doesn't look at your mistakes, lifestyle, or commitments, but by your willingness to say, "Here I am, God. Use me."

Jam-packed with storytelling and Bible teaching, One Ordinary Woman, One Extraordinary God will open your eyes to the many ways God can use you where you are, if only you will let him, illustrating the similarities of biblical and contemporary women.

God has made us what we are. In Christ Jesus, God made us to do good works, which God planned in advance for us to live our lives doing. "(Ephesians 2:10, NCV)"