Elizabeth Blackwell's autobiographic history of the brave accomplishments of those who made the USA's medical profession accessible to women is illuminating and uplifting. Writing toward the end of the 19th century, Blackwell strikes a dignified and resolute tone throughout this memoir. Prior to Victorian times, women had only a diminished role in the medical profession, which - like most other professional trades at the time - was closed to female participation. Elizabeth Blackwell however was adamant that she could serve as a medic; her persistence led her to become the first woman ever taught in medical school, studying in the USA. Blackwell discusses famous figures in English medicine, such as Florence Nightingale, as well as several more obscure - but nevertheless important and influential - contributors to the progress of women in the medical profession. Towards the end of the book, set in 1858, Elizabeth Blackwell revisits England to behold the hospitals and medical community of that nation.

The discovery of gold in the southern Black Hills in 1874 set off one of the great gold rushes in America. In 1876, miners moved into the northern Black Hills. That's where they came across a gulch full of dead trees and a creek full of gold and Deadwood was born. Practically overnight, the tiny gold camp boomed into a town that played by its own rules that attracted outlaws, gamblers and gunslingers along with the gold seekers. Deadwood was comprised mostly of single men, a ration of men to women as high as 8 to 1, never less than 3 to 1.The lack of affordable housing, the hostile environment, the high cost of travel, and the expense of living in Deadwood prevented many men from bringing their wives, girlfriends and families to the growing town. Hoards of prostitutes and madams came to Deadwood to capitalize on the lack of women. By the mid-1880s, there were more than a hundred fifty brothels in the mining community. The most notorious cat house in Deadwood was owned and operated by Al Swearengen. Swearengen was an entertainment entrepreneur who opened the house of ill-reputed shortly after he arrived in town in the spring of 1876.Initially known as The Gem, the brothel was host to a number of well-known soiled doves of the Old West from Eleanor Dumont to Nita Celaya. The brothel was in continual operation for more than sixty years. The business changed hands a number of times during the six decades it was in existence. Among the many madams who ran the cat house were Poker Alice Tubbs, Mert O'Hara, and Gertrude Bell. The business also changed names a number of times. It was known as Fern's Place, The Combination, and The Meoldian. When the brothel officially closed in 1956, it was known as The Beige Door. In the spring of 2022, The Beige Door will once again be open for business. This time as a museum. The South Dakota Historical Society have invested in refurbishing the brothel and making it ready for the public to tour. The book Deadwood's Red-Light Ladies: Behind the Beige Door will focus on the infamous cat house, those that managed the business, their employees, its well-known clientele, the various crimes committed at the location, and its ultimate demise.

This is the first systematic study of Polish women's conversion to Islam in English. Through interviews with Polish female converts to Islam and ethnographic observation, we learn about their journey to Islam in a country where Muslims constitute less than 0,5% of the population and experience daily struggles related to maintaining their national and religious identities sometimes considered to be spoiled. The analysis presented in the book illuminates different factors that shape the converts' religious lives: attempts to establish "Polish Islam" with its unique cultural flavor; a new hybrid language that includes Polish, English and Arabic elements; intersectional identities as women, Muslims, Poles, and Eastern European immigrants among those who live outside of Poland. This study offers a fascinating window into the lives of Muslims in a sociopolitical context that is considered to be on the margins of the "Muslim world."

Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Women of this generation migrated to France during the decades preceding and following the end of French colonial rule, and they are generally - though not always accurately - regarded as belonging to a generation of migrants silenced under the weight of poverty, illiteracy, Islamic tradition, and majority ethnic Islamophobia. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book brings together a diverse corpus of over 60 documentaries, short films, telefilms (made-for-television films), and feature films released in France between 1979 and 2014, and it devotes one chapter to each kind of film. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought. The films examined in this book contribute to larger contemporary debates and discussions relating to immigration, integration, and identity in France.

A long and ongoing challenge for social justice movements has been how to address difference. Traditional strategies have often emphasized universalizing messages and common identities as means of facilitating collective action. Feminist movements, gay liberation movements, racial justice movements, and even labour movements, have all focused predominantly on respective singular dimensions of oppression. Each has called on diverse groups of people to mobilize, but without necessarily acknowledging or grappling with other relevant dimensions of identity and oppression. While focusing on commonality can be an effective means of mobilization, universalist messages can also obscure difference and can serve to exclude and marginalize groups in already precarious positions. Scholars and activists, particularly those located at the intersection of these movements, have long advocated for more inclusive approaches that acknowledge the significance and complexity of different social locations, with mixed success. Gender Mobilizations and Intersectional Challenges provides a much needed intersectional analysis of social movements in Europe and North America. With an emphasis on gendered mobilization, it looks at movements traditionally understood and/or classified as singularly gendered as well as those organized around other dimensions of identity and oppression or at the intersection of multiple dimensions. This comparative study of movements allows for a better understanding of the need for as well as the challenges

The first woman in America to own and operate a circus, Agnes Lake spent thirty years under the Big Top before becoming the wife of Wild Bill Hickok--a mere five months before he was killed. Although books abound on the famous lawman, Agnes's life has remained obscured by circus myth and legend.

Linda A. Fisher and Carrie Bowers have written the first biography of this colorful but little-known circus performer. Agnes originally found fame as a slack-wire walker and horseback rider, and later as an animal trainer. Her circus career spanned more than four decades. Following the murder of her first husband, Bill Lake, she was the sole manager of the "Hippo-Olympiad and Mammoth Circus." While taking her show to Abilene, she met town marshal Hickok and five years later she married him. After Hickok's death, Agnes traveled with P. T. Barnum and Buffalo Bill Cody, and managed her daughter Emma Lake's successful equestrian career.

This account of a remarkable life cuts through fictions about Agnes's life, including her own embellishments, to uncover her true story. Numerous illustrations, including rare photographs and circus memorabilia, bring Agnes's world to life.

A message for today’s women – it is time for you to step into your starring role.

Being empowered is a choice; it is a daily decision that defines who we are and it is accessible to everyone. Meeting Your Power is a reminder that power is inside all of us, and that your journey to empowerment begins with you!

This is the story of two remarkable women, DJ Zinhle and Nokubonga Mbanga, who have experienced life’s ups and downs. They share the lessons learnt on their life journeys through inspirational words - words that will invoke your inner power, words that will help you return home to your essence, and words that will encourage you to return to the source of your power, the power that we are all born with.

Being an empowered woman is more than just doing, it is also about being. This book will show you how to look at power differently and will help you to unleash and harness your inner power with honest, simple and practical examples and advice. Most importantly, you will learn that your greatest empowerment project is being authentically you, every day. Prepare to meet your power and radiate your possibilities. Let’s ignite a movement of women and girls who understand the higher meaning of love for oneself and others, who appreciate and celebrate our collective growth; who nurture a solid mindset of achievement and who value creating, protecting and preserving our inner peace.

Rise and Raise!

Economic Imperatives for Women's Writing in Early Modern Europe delves into the early modern history of women's authorship and literary production in Europe taking a material turn. The case studies included in the volume represent women writers from various European countries and comparatively reflect the nuances of their participation in a burgeoning commercial market for authors while profiting as much from patronage. From self-representation as professional writers to literary reception, the challenges of reputation, financial hardships, and relationships with editors and colleagues, the essays in this collection show from different theoretical standpoints and linguistic areas that gender biases played a far less limiting role in women's literary writing than is commonly assumed, while they determined the relationship between moneymaking, self-representation, and publishing strategies.