This book examines the impact sisters and brothers had on eighteenth-century English families and society. Using evidence from letters, diaries, probate disputes, court transcripts, prescriptive literature and portraiture, it argues that although parents' wills often recommended their children 'share and share alike', siblings had to constantly negotiate between prescribed equality and practiced inequalities. Siblinghood and social relations in Georgian England, which will be the first monograph-length analysis of early modern siblings in England, is primed to be at the forefront of sibling studies. The book is intended for a broad audience of scholars - particularly those interested in families, women, children and eighteenth-century social and cultural history. -- .

This book examines the impact sisters and brothers had on eighteenth-century English families and society. Using evidence from letters, diaries, probate disputes, court transcripts, prescriptive literature, and portraiture, it argues that although parents' wills often recommended their children "share and share alike," siblings had to constantly negotiate between prescribed equality and practiced inequalities. Siblinghood and Social Relations in Georgian England, which will be the first monograph-length analysis of early modern siblings in England, is primed to be at the forefront of sibling studies. The book is intended for a broad audience of scholars - particularly those interested in families, women, children and eighteenth-century social and cultural history.

Taking a theoretical, historical and critical approach to horror directed by women, Bloody Women considers how the gender landscape of horror filmmaking is changing. It unearths the long and rich history of female-fronted horror films that predate the better-known The Babadook. It explores whether the genre provides a perennial springboard for rising stars behind the camera and if the malleability of horror makes it a genre of choice for visionary film-makers eager to stretch their wings. Is there a way in which female-helmed horror films are distinct from male-led projects or do the unique experiences of womanhood of different directors lead them to create unique work? Are there defining qualities and characteristics that can be attributed to the horror of women directors and how are such unique voices shaping horror and influencing the industry? Women directors of horror are becoming increasingly more difficult to ignore. As Canadian horror filmmaker Jen Soska cautions, "A revolution has started."

This four-volume collection of primarily newly transcribed manuscript material brings together sources from both sides of the Atlantic and from a wide variety of regional archives. It is the first collection of its kind, allowing comparisons between the development of the family in England and America during a time of significant change.

This four-volume collection of primarily newly transcribed manuscript material brings together sources from both sides of the Atlantic and from a wide variety of regional archives. It is the first collection of its kind, allowing comparisons between the development of the family in England and America during a time of significant change.

This four-volume collection of primarily newly transcribed manuscript material brings together sources from both sides of the Atlantic and from a wide variety of regional archives. It is the first collection of its kind, allowing comparisons between the development of the family in England and America during a time of significant change.

This four-volume collection of primarily newly transcribed manuscript material brings together sources from both sides of the Atlantic and from a wide variety of regional archives. It is the first collection of its kind, allowing comparisons between the development of the family in England and America during a time of significant change.

Being Single in Georgian England is the first book-length exploration of what family life looked like, and how it was experienced, when viewed from the perspective of unmarried and childless family members. Using a micro-historical approach, Amy Harris covers three generations of the famous musical and abolitionist Sharp family. The abundance of records the Sharps produced and preserved reveals how single family members influenced the household economy, marital decisions, childrearing practices, and conceptions about lineage and genealogy. The Sharps' exceptional closeness and good humor consistently shines through as their experiences reveal how eighteenth-century families navigated gender and age hierarchies, marital choices, and household governance. The importance of childhood relationships and the life-long nature of siblinghood stand out as central aspects of Sharp family life, no matter their marital status. Along the way, Being Single explores humor, music, religious practice and belief, death and mourning, infertility, disability, slavery, abolition, philanthropy, and family memory. The Sharps' experiences uncover how important lateral kin like siblings and cousins were to marital and household decisions. The analysis also reveals additional layers of Georgian family life, including: single sociability not centered on courtship; the importance of aunting and uncling on their own terms; the ways charitable acts and philanthropic endeavors could serve as outlets or partial replacements for parenthood; and how genealogical practices could be tied to values and identity instead of to biological descendants' possession of property. Ultimately, the Sharp siblings' remarkable lives and the single family members' efforts to preserve a record of those lives, show the enduring contribution of unmarried people to family relationships and household dynamics.