Liminal periods in politics often serve as points in time when traditional methods and principles organizing society are disrupted. These periods of interregnum may not always result in complete social upheaval, but they do open the space to imagine social and political change in diverse forms. In Queering the Enlightenment: kinship and gender in the literature of eighteenth-century France, Tracy Rutler uncovers how numerous canonical authors of the 1730s and 40s were imagining radically different ways of organizing the masses during the early years of Louis XV's reign. Through studies of the literature of Antoine Francois Prevost, Claude Crebillon, Pierre de Marivaux, and Francoise de Graffigny among others, Rutler demonstrates how the heteronormative bourgeois family's rise to dominance in late-eighteenth-century France had long been contested within the fictional worlds of many French authors. The utopian impulses guiding the fiction studied in this book distinguish these authors as some of the most brilliant political theorists of the day. Enlightenment, for these authors, means reorienting one's relation to power by reorganizing their most intimate relations. Using a practice of reading queerly, Rutler shows how these works illuminate the unparalleled potential of queer forms of kinship to dismantle the patriarchy and help us imagine what might eventually take its place.

In 1892 a furious Charlotte Perkins Gilman put pen to paper and created the avant-garde feminist work The Yellow Wallpaper as a warning - in this haunting Gothic tale, a woman is confined to a room and forbidden to do anything interesting - and she loses her mind. In 1887, following a severe nervous breakdown, Gilman had been sent to a leading neurologist, she explains in 'Why I Wrote The Yellow Wallpaper', also included in this volume. He was a 'wise man' who 'put me to bed and applied the rest cure... and sent me home with solemn advice to "live as domestic a life as far as possible"... and "never to touch pen, brush or pencil again" as long as I lived. I went home and obeyed those directions for some three months, and came so near the borderline of utter mental ruin that I could see over.' The Yellow Wallpaper is both a haunting illustration of the treatment of mental health and a chilling Gothic tale, and this new edition makes it ready to enchant another generation of readers.

Elgar Advanced Introductions are stimulating and thoughtful introductions to major fields in the social sciences and law, expertly written by the world's leading scholars. Designed to be accessible yet rigorous, they offer concise and lucid surveys of the substantive and policy issues associated with discrete subject areas. The intellectual origins of the area are explicated, and the current state of the subfield outlined. Specific topics covered include conflict over terminology, pedagogy, and content in the field of economics, measurement of the unmeasured economy, the role of caring labor in the economy, heteronormativity in economics, feminist approaches to economic development, multiple approaches to empiricism, modeling of intrahousehold relationships, consideration of the role of property rights in reifying gender roles, differential effects of international trade and finance by gender, and feminist approaches to public finance and social welfare.

This book explores traditional and contemporary concerns surrounding gender and ethnicity in Chile through a textual analysis of historical novels depicting seventeenth-century figure, Catalina de los Rios y Lisperguer. Drawing on theories from the Global North and South, it incorporates postcolonial perspectives and decolonial feminist methodologies to expose patriarchal, Eurocentric hierarchies constructed during the colonial era, which remain in Chilean society today. Through close readings, the book demonstrates that it is in the inconsistent and fluid depictions of characters that identities are deconstructed and reconstructed in ways that defy and transform social norms. This is the first extended English-language study of this infamous historical figure, who is more widely known as la Quintrala. It is also the first to compare the literary portrayals by Mercedes Valdivieso and Gustavo Frias. Looking beyond the infamy which usually shapes interpretations of la Quintrala, the author presents these novels as an embodiment of the anxieties surrounding hybridity in Chile, where European heritage has traditionally overshadowed indigenous concerns, and patriarchal norms dominate the construction of gender. Written during a period of social and political upheaval in Chile, it makes a timely contribution to existing works in social and political science, popular culture and the ongoing discussions of this iconic figure.

The rare woman director working in second-wave exploitation, Stephanie Rothman (b. 1936) directed seven successful feature films, served as the vice president of an independent film company, and was the first woman to win the Directors Guild of America's student filmmaking prize. Despite these career accomplishments, Rothman retired into relative obscurity. In The Cinema of Stephanie Rothman: Radical Acts in Filmmaking, author Alicia Kozma uses Rothman's career as an in-depth case study, intertwining historical, archival, industrial, and filmic analysis to grapple with the past, present, and future of women's filmmaking labor in Hollywood. Understanding second wave exploitation filmmaking as a transitory space for the industrial development of contemporary Hollywood that also opened up opportunities for women practitioners, Kozma argues that understudied film production cycles provide untapped spaces for discovering women's directorial work. The professional career and filmography of Rothman exemplify this claim. Rothman also serves as an apt example for connecting the structure of film histories to the persistent strictures of rhetorical language used to mark women filmmakers and their labor. Kozma traces these imbrications across historical archives. Adopting a diverse methodological approach, The Cinema of Stephanie Rothman shines a needed spotlight on the problems and successes of the memorialization of women's directorial labor, connecting historical and contemporary patterns of gendered labor disparity in the film industry. This book is simultaneously the first in-depth scholarly consideration of Rothman, the debut of the most substantive archival materials collected on Rothman, and a feminist political intervention into the construction of film histories.

Supercharge your game and claim your victory with this powerful collection of uplifting words from kickass women in sport Inside every woman is a lioness just waiting to break free. This feisty feline is independent, brave, strong and agile. She is ready to acknowledge and shout about her power. She wants to crush her goals. She believes she deserves to live her life courageously and to the full. All she needs is for you to open your heart and set her free. This small-but-mighty book is the perfect companion on your journey to attaining the unshakeable confidence of a lioness. Inside you'll find empowering quotes from sporting legends all the way from Billie Jean King right up to Leah Williamson. Let these bold words from badass women inspire you to find your pride of supportive sisters, reach for your dreams, and celebrate every success along the way. Stay fierce and fearless - unleash your inner lioness and hear her roar!

Until well into the twentieth century, the claims to citizenship of women in the US and in Europe have come through men (father, husband); women had no citizenship of their own. The case studies of three expatriate women (Renee Vivien, Romaine Brooks, and Natalie Barney) illustrate some of the consequences for women who lived independent lives. To begin with, the books traces the way that ideas about national belonging shaped gay male identity in the nineteenth century, before showing that such a discourse was not available to women and lesbians, including the three women who form the core of the book. In addition to questions of sexually non-conforming identity, women's mediated claim to citizenship limited their autonomy in practical ways (for example, they could be unilaterally expatriated). Consequently, the situation of the denizen may have been preferable to that of the citizen for women who lived between the lines. Drawing on the discourse of jurisprudence, the history of the passport, and original archival research on all three women, the books tells the story of women's evolving claims to citizenship in their own right.

In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful. Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genee and Bessie Clayton's "photographic" danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.