Twenty Years at Hull House, by the acclaimed memoir of social reformer Jane Addams, is presented here complete with all sixty-three of the original illustrations and the biographical notes. A landmark autobiography in terms of opening the eyes of Americans to the plight of the industrial revolution, Twenty Years at Hull House has been applauded for its unflinching descriptions of the poverty and degradation of the era. Jane Addams also details the grave ill-health she suffered during and after her childhood, giving the reader insight into the adversity which she would re-purpose into a drive to alleviate the suffering of others. The process by which Addams founded Hull House in Chicago is detailed; the sheer scale and severity of the poverty in the city she and others witnessed, the search for the perfect location, and the numerous difficulties she and her fellow activists encountered while establishing and maintaining the house are detailed.

Existent literature has identified the existence of some differences between men and women entrepreneurs in terms of propensity to innovation, approach to creativity, decision making, resilience, and co-creation. Without properly examining the current inequalities in social-economic structures, it is difficult to examine the results of corporate female leadership. The Handbook of Research on Women in Management and the Global Labor Market is a pivotal reference source that examines the point of convergence among entrepreneurship organizations, relationship, creativity, and culture from a gender perspective, and researches the relation between current inequalities in social-economic structures and organizations in the labor market, education and individual skills, wages, work performance, promotion, and mobility. While highlighting topics such as gender gap, woman empowerment, and gender inequality, this publication is ideally designed for managers, government officials, policymakers, academicians, practitioners, and students.

From writer and veteran columnist Jennifer Grant comes an unflinching and spirited look at the transitions of midlife.

When Did Everybody Else Get So Old? plumbs the physical, spiritual, and emotional changes unique to the middle years: from the emptying nest to the physical effects of aging. Grant acknowledges the complexities and loss inherent in midlife and tells stories of sustaining disappointment, taking hard blows to the ego, undergoing a crisis of faith, and grieving the deaths not only of illusions but of loved ones. Yet she illuminates the confidence and grace that this season of life can also bring.

Magnetic, good-humored, and full of hope in the sustaining power of the Spirit, this is a must-read for anyone facing the flux and flow of middle age.

Women's Human Rights and the 'Muslim Question' shows how Muslim women have made meaningful contributions to the development of the international framework on gender equality and women's rights. Her investigation into the women's movement of Iran offers a practical grounding for this argument, and presents unprecedented findings on how ideological divisions along secular and religious lines have been worked in favour of a rights-based framework for change The book presents a comprehensive synthesis and analysis of the campaign material of the women's movement 'Change for Equality Campaign' - one of the most progressive and sophisticated movements in the Middle East/Central Asia.

Since the 1980s the number of women regularly directing films has increased significantly in most Western countries: in France, Claire Denis and Catherine Breillat have joined Agnes Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the Thinking Cinema series draws on feminist theorists and critics from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities.Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency,and avoiding the most important questions about how cinema can 'do justice' to female subjectivity: Kate Ince suggests that the films of independent women directors are progressively redressing the balance, and thereby reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to cast a new veil over such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank; and includes a timeline ofdevelopments in women's film-making and feminist film theory from 1970 to 2011.