In this third volume of the series Junctures: Case Studies in Women’s Leadership, Judith K. Brodsky and Ferris Olin profile female leaders in music, theater, dance, and visual art. The diverse women included in Junctures in Women's Leadership: The Arts have made their mark by serving as executives or founders of art organizations, by working as activists to support the arts, or by challenging stereotypes about women in the arts. The contributors explore several important themes, such as the role of feminist leadership in changing cultural values regarding inclusivity and gender parity, as well as the feminization of the arts and the power of the arts as cultural institutions. Amongst the women discussed are Bertha Honoré Palmer, Louise Noun, Samella Lewis, Julia Miles, Miriam Colón, Jaune Quick-To-See Smith, Bernice Steinbaum, Anne d’Harnoncourt, Martha Wilson, Jawole Willa Jo Zollar, Kim Berman, Gilane Tawadros, Joanna Smith, and Veomanee Douangdala.
From the colonial era to the present, Marcie Cohen Ferris examines the expressive power of food throughout southern Jewish history. She demonstrates with delight and detail how southern Jews reinvented culinary traditions as they adapted to the customs, landscape, and racial codes of the American South. Richly illustrated, this culinary tour of the historic Jewish South is an evocative mixture of history and foodways, including more than thirty recipes to try at home.
James Joyce's near blindness, his peculiar gait, and his death from perforated ulcers are commonplace knowledge to most of his readers. But until now, most Joyce scholars have not recognized that these symptoms point to a diagnosis of syphilis. Kathleen Ferris traces Joyce's medical history as described in his correspondence, in the diaries of his brother Stanislaus, and in the memoirs of his acquaintances, to show that many of his symptoms match those of tabes dorsalis, a form of neurosyphilis which, untreated, eventually leads to paralysis. Combining literary analysis and medical detection, Ferris builds a convincing case that this dread disease is the subject of much of Joyce's autobiographical writing. Many of this characters, most notably Stephen Dedalus and Leopold Bloom, exhibit the same symptoms as their creator: stiffness of gait, digestive problems, hallucinations, and impaired vision. Ferris also demonstrates that the themes of sin, guilt, and retribution so prevalent in Joyce's works are almost certainly a consequence of his having contracted venereal disease as a young man while frequenting the brothels of Dublin and Paris. By tracing the images, puns, and metaphors in Ulysses and Finnegans Wake, and by demonstrating their relationship to Joyce's experiences, Ferris shows the extent to which, for Joyce, art did indeed mirror life.
Home and family," for a woman of the nineteenth century, represented a sphere much broader than the term implies today. A woman's duties as sister and daughter continued, basically unchanged, even after she had assumed the roles of wife and mother. This created a female-centered kin network which went far beyond the fragile nuclear family, and which insured lifelong security in what men and women viewed as an essentially hostile world. The female family is vividly portrayed in True Sisterhood, where Marilyn Ferris Motz examines the lives of white Protestant native-born American women living in Michigan between 1820 and 1920 and the kinship networks to which they belonged--networks that often extended east to New England and the Middle Atlantic states and westward as far as California. The University of Michigan's Bentley Library collections of the correspondence, diaries, photographs, and other documents of numerous family groups have provided the primary resources for this study of thirty extended families. Focusing on personal interaction within the family, Motz shows women playing an active role that is not suggested by observation of residence patterns, household composition, or legal distribution of authority. The book reveals women's use of language to maintain personal relationships, to persuade and manipulate, and to obtain support. Thus the power base of the woman, her informal networks based on personal interaction, persuasion, and sense of obligation, become visible. True Sisterhood shows that women's influence was not merely a fabrication of the literature of what has come to be termed the "cult of domesticity" but was a reality within many nineteenth-century homes.
While wide-awake in the middle of the night (welcome to menopause!), Amy Ferris chronicles every one of her hysterical, heartbreaking, ridiculous, and unflinchingly honest thoughts. Along with fantasizing about marrying George Clooney, Ferris faces a plethora of other insomnia-induced thoughts and activities. From Googling old boyfriends to researching obscure and fatal diseases on the web, she worries endlessly about her husband, relies heavily on Ambien, and tries to arrange care via the Internet for her mother (who has both severe dementia and a massive crush on Jesus Christ) - all while refraining from lighting up just one more cigarette.
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