This indispensable text reader provides a broad-ranging and thoughtfully organized feminist introduction to the ongoing controversies of development in Latin America and the Caribbean. Designed for use in a variety of college courses, the volume collects an influential group of essays first published in Latin American Perspectives a theoretical and scholarly journal focused on the political economy of capitalism, imperialism, and socialism in the Americas. The reader is organized into thematic sections that focus on work, politics, and culture, and each section includes substantive introductions that identify key issues, trends, and debates in the scholarly literature on women and gender in the region. Demonstrating the rich and multidisciplinary nature of Latin American studies, this collection of timely, empirical studies promotes critical thinking about women's place and power; about theory and research strategies; and about contemporary economic, political, and social conditions in Latin America and the Caribbean. Valuable as both a supplementary or primary text, Rereading Women makes a convincing claim for a materialist feminist analysis. It convincingly shows why women have become an increasingly important subject of research, acknowledges their gains and struggles over time, and explores the contributions that feminist theory has made toward the recognition of gender as a relevant indeed essential category for analyzing the political economy of development.

Rebirth of the English Comic Strip: A Kaleidoscope, 1847-1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a ""rebirth"" because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780-c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Toepffer comic strip sparks to life in Britain,, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once, in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe's first female professional cartoonist.

Cham, real name Count Amedee de Noe and a serious rival to Daumier, may have been the epitome of a celebre inconnu, a famous unknown. He is one much deserving, at last, of this first account of his huge oeuvre as a caricaturist. This book concentrates on his mastery of the important newcomer to the field of caricature, which we call comic strip, picture story, and graphic novel. The volume features facsimiles of nearly twenty of these from 1839 to 1863 and ranging from one page to forty (this last a parody of Victor Hugo's Les Miserables). In addition, summaries and sample illustrations of twenty-seven ""minor works"" demonstrate that Cham is by far the most important specialist of what was then a new genre in Europe. Born to an ancient aristocratic family, Cham was from early on wholly dedicated to an art considered far beneath his class. Starting as a disciple of the father of the modern comic strip, Swiss Rodolphe Toepffer, Cham soon launched out on his own, evolving an original form of comedy, his own comedie humaine, farcical, absurd, and parodic. His productivity was legendary and comprised all the known genres of caricature, the full-page cartoon lithograph, the thematic seasonal group, weekly and monthly humorous comment (much like the daily newspaper cartoonist today), and a feature called the Revue Comique, which made him the supreme graphic journalist of his day. Hitherto unknown correspondence reveals an attractive personality who was fond of animals and who honored a low-class woman he eventually made his countess. Vaunted comics scholar David Kunzle has created a fitting tribute to Cham's impact and genius.

Among the many accomplishments in art and literature by Genevan Rodolphe Topffer (1799-1846), his virtual invention of the comic strip, or graphic novel, stands out as the most surprising, curious, and to us, after a century inundated by comic strips, by far the most significant.

This volume is the first English-language version of the Topffer comics oeuvre and includes (unlike previous French and German editions) all of his eight full-length stories, plus previously unpublished fragments of stories started and abandoned and manuscript segments omitted in the printed versions. Comics scholar Kunzle translates the captions from the French, gives essential biography and chronology, and appends socio-political contexts for all the stories with explanation of references obscure today. He deals with questions of dating and the differences among manuscript, printed version, and the various editions. He also lists the plagiaries, translations, and adaptations in other media.

Topffer's complete comic strip output, combined with Kunzle's annotative material and analyses, makes this volume one of the most significant works of comics history to be published and reestablishes Topffer's seminal place in the comics canon.

David Kunzle is author of "From Criminal to Courtier: The Soldier in Netherlandish Art, 1550-1670" and "Decade of Protest: Political Posters from the United States, Vietnam, and Cuba, 1965-1975."