In more than nine decades of Girl Scouting, a vast popular and material culture has given rise to a wealth of Girl Scout history collections. More than an identification guide to uniforms, insignia, and other Girl Scout objects, this work also documents when changes occurred and why new items were introduced. Placing these objects in context, this essential guide provides a discerning look at the history and development of the Girl Scout Movement in the United States. Scholars and aficionados of Girl Scout history, costume history, women's studies, popular culture, and dress will welcome this indispensable and definitive resource. This new, expanded edition, with hundreds of illustrations, photographs, and tables, is indisputably the go-to source for information on all Girl Scout uniforms, insignia, awards, and handbooks, as well as dolls, postcards, posters, calendars, and more--from the founding of the Girl Scouts in 1912 through the present day. "An invaluable resource to Girl Scout councils managing a history collection. And, beyond that . . . an informative and intriguing glimpse . . . into the evolution of a Movement that . . . today is the world's preeminent organization dedicated solely to girls." --Cynthia B. Thompson, chair, National Board of Directors, and Kathy Cloninger, national chief executive officer, GSUSA "An indispensable reference for collectors; a fascinating resource for anyone interested in Girl Scouting, this comprehensive guide to Girl Scout memorabilia is firmly grounded in the history of the Girl Scouts of the United States. Mary Degenhardt and Judith Kirsch show us what Girl Scouts wore and read, and explain how changes in uniforms, insignia, and publications reflect the evolution of Girl Scout programs and the expansion of opportunities for American girls. Reading this book is like walking through a fine museum where material culture brings the past to life." --Anastatia Sims, author of Negotiating Boundaries of Southern Womanhood
Virginia Woolf, throughout her career as a novelist and critic, deliberately framed herself as a modern writer invested in literary tradition but not bound to its conventions; engaged with politics but not a propagandist; a woman of letters but not a "lady novelist." As a result, Woolf ignored or disparaged most of the women writers of her parents' generation, leading feminist critics to position her primarily as a forward-thinking modernist who rejected a stultifying Victorian past. In Behind the Times, Mary Jean Corbett finds that Woolf did not dismiss this history as much as she boldly rewrote it. Exploring the connections between Woolf's immediate and extended family and the broader contexts of late-Victorian literary and political culture, Corbett emphasizes the ongoing significance of the previous generation's concerns and controversies to Woolf's considerable achievements. Behind the Times rereads and revises Woolf's creative works, politics, and criticism in relation to women writers including the New Woman novelist Sarah Grand, the novelist and playwright, Lucy Clifford; the novelist and anti-suffragist, Mary Augusta Ward. It explores Woolf's attitudes to late-Victorian women's philanthropy, the social purity movement, and women's suffrage. Closely tracking the ways in which Woolf both followed and departed from these predecessors, Corbett complicates Woolf's identity as a modernist, her navigation of the literary marketplace, her ambivalence about literary professionalism and the mixing of art and politics, and the emergence of feminism as a persistent concern of her work.
Seeking Eden promotes an awareness of, and appreciation for, Georgia’s rich garden heritage. Updated and expanded here are the stories of nearly thirty designed landscapes first identified in the early twentieth-century publication Garden History of Georgia, 1733–1933. Seeking Eden records each garden’s evolution and history as well as each garden’s current early twenty-first-century appearance, as beautifully documented in photographs. Dating from the mid-eighteenth to the early twentieth centuries, these publicly and privately owned gardens include nineteenth-century parterres, Colonial Revival gardens, Country Place–era landscapes, rock gardens, historic town squares, college campuses, and an urban conservation garden. Seeking Eden explores the significant impact of the women who envisioned and nurtured many of these special places; the role of professional designers, including J. Neel Reid, Philip Trammel Shutze, William C. Pauley, Robert B. Cridland, the Olmsted Brothers, Hubert Bond Owens, and Clermont Lee; and the influence of the garden club movement in Georgia in the early twentieth century. FEATURED GARDENS: Andrew Low House and Garden | Savannah Ashland Farm | Flintstone Barnsley Gardens | Adairsville Barrington Hall and Bulloch Hall | Roswell Battersby-Hartridge Garden | Savannah Beech Haven | Athens Berry College: Oak Hill and House o’ Dreams | Mount Berry Bradley Olmsted Garden | Columbus Cator Woolford Gardens | Atlanta Coffin-Reynolds Mansion | Sapelo Island Dunaway Gardens | Newnan vicinity Governor’s Mansion | Atlanta Hills and Dales Estate | LaGrange Lullwater Conservation Garden | Atlanta Millpond Plantation | Thomasville vicinity Oakton | Marietta Rock City Gardens | Lookout Mountain Salubrity Hall | Augusta Savannah Squares | Savannah Stephenson-Adams-Land Garden | Atlanta Swan House | Atlanta University of Georgia: North Campus, the President’s House and Garden, and the Founders Memorial Garden | Athens Valley View | Cartersville vicinity Wormsloe and Wormsloe State Historic Site | Savannah vicinity Zahner-Slick Garden | Atlanta
The Great Gatsby and its criticism of American society during the 1920s, F. Scott Fitzgerald claimed the distinction of writing what many consider to be the "great American novel." Critical Companion to F.
In addition to the portrait it paints of a fascinating man whose public life was as earnest and idealistic as his private life was shocking and titillating, Disraeli's Disciple also provides new insights into the politics of this formative stage in British history.
The history of Irish Travellers is not analogous to that of the 'tinker', a Europe-wide underworld fantasy created by sixteenth-century British and continental Rogue Literature that came to be seen as an Irish character alone as English became dominant in Ireland. By the Revival, the tinker represented bohemian, pre-Celtic aboriginality, functioning as the cultural nationalist counter to the Victorian Gypsy mania. Long misunderstood as a portrayal of actual Travellers, J.M. Synge's influential The Tinker's Wedding was pivotal to this 'Irishing' of the tinker, even as it acknowledged that figure's cosmopolitan textual roots. Synge's empathetic depiction is closely examined, as are the many subsequent representations that looked to him as a model to subvert or emulate. In contrast to their Revival-era romanticization, post-independence writing portrayed tinkers as alien interlopers, while contemporaneous Unionists labelled them a contaminant from the hostile South. However, after Travellers politicized in the 1960s, more even-handed depictions heralded a querying of the 'tinker' fantasy that has shaped contemporary screen and literary representations of Travellers and has prompted Traveller writers to transubstantiate Otherness into the empowering rhetoric of ethnic difference. Though its Irish equivalent has oscillated between idealization and demonization, US racial history facilitates the cinematic figuring of the Irish-American Traveler as lovable 'white trash' rogue. This process is informed by the mythology of a population with whom Travelers are allied in the white American imagination, the Scots-Irish (Ulster-Scots). In short, the 'tinker' is much more central to Irish, Northern Irish and even Irish-American identity than is currently recognised.
his interdisciplinary reference work presents a linked consideration, to the reader, of physical- cultural (physicocultural) representations of headstones located in urban churchyards in England and Scotland. The geomorphology of landscapes relevant to these locations is explained with the help of detailed case studies from Oxford and Edinburgh. The integrated physicocultural approach addresses the conservation of the archaeological record and presents a cross-temporal perspective of landscape change – of the headstones as landforms in their landscape (as part of deathscapes). The physical record (of headstones) is examined in the context of both cultural representation and change. In this way, an integrated approach is employed that connects the physical (natural) and cultural (social) records kept by historians and archeologists over the years. Changing Landscapes in Urban British Churchyards is of interest to geomorphologists, historians and scholars interested in understanding landscaping studies and cultural nuance of specific historical urban sites in England and Scotland.
Byron and John Murray: A Poet and His Publisher is the first comprehensive account of the relationship between Byron and the man who published his poetry for over ten years. It is commonly seen as a paradox of Byron’s literary career that the liberal poet was published by a conservative publishing house. It is less of a paradox when, as this book illustrates, we see John Murray as a competitive, innovative publisher who understood how to deal with his most famous author. The book begins by charting the early years of Murray’s success prior to the publication of Childe Harold’s Pilgrimage, and describes Byron’s early engagement with the literary marketplace. The book describes in detail how Byron became one of Murray’s authors, before documenting the success of their commercial association and the eventual and protracted disintegration of their relationship. Byron wrote more letters to John Murray than anyone else and their correspondence represents a fascinating dialogue on the nature of Byron’s poetry, and particularly the nature of his fame. It is the central argument of this book that Byron’s ambivalent attitude towards professional writing and popular literature can be illuminated through an understanding of his relationship with John Murray.
A survey of nineteenth-century women whose journal publications are listed in the 19 volume London Royal Society's Catalogue of scientific papers, 1800-1900, comprising an author index to scientific papers contained in the transactions of societies, journals, and other periodical works, being the major index of scientific journal literature for the period.
Two centuries after its original publication, Mary Shelley’s classic tale of gothic horror comes to vivid life in "what may very well be the best presentation of the novel" to date (Guillermo del Toro). "Remarkably, a nineteen-year-old, writing her first novel, penned a tale that combines tragedy, morality, social commentary, and a thoughtful examination of the very nature of knowledge," writes best-selling author Leslie S. Klinger in his foreword to The New Annotated Frankenstein. Despite its undeniable status as one of the most influential works of fiction ever written, Mary Shelley’s novel is often reductively dismissed as the wellspring for tacky monster films or as a cautionary tale about experimental science gone haywire. Now, two centuries after the first publication of Frankenstein, Klinger revives Shelley’s gothic masterpiece by reproducing her original text with the most lavishly illustrated and comprehensively annotated edition to date. Featuring over 200 illustrations and nearly 1,000 annotations, this sumptuous volume recaptures Shelley’s early nineteenth-century world with historical precision and imaginative breadth, tracing the social and political roots of the author’s revolutionary brand of Romanticism. Braiding together decades of scholarship with his own keen insights, Klinger recounts Frankenstein’s indelible contributions to the realms of science fiction, feminist theory, and modern intellectual history—not to mention film history and popular culture. The result of Klinger’s exhaustive research is a multifaceted portrait of one of Western literature’s most divinely gifted prodigies, a young novelist who defied her era’s restrictions on female ambitions by independently supporting herself and her children as a writer and editor. Born in a world of men in the midst of a political and an emerging industrial revolution, Shelley crafted a horror story that, beyond its incisive commentary on her own milieu, is widely recognized as the first work of science fiction. The daughter of a pioneering feminist and an Enlightenment philosopher, Shelley lived and wrote at the center of British Romanticism, the “exuberant, young movement” that rebelled against tradition and reason and "with a rebellious scream gave birth to a world of gods and monsters" (del Toro). Following his best-selling The New Annotated H. P. Lovecraft and The New Annotated Sherlock Holmes, Klinger not only considers Shelley’s original 1818 text but, for the first time in any annotated volume, traces the effects of her significant revisions in the 1823 and 1831 editions. With an afterword by renowned literary scholar Anne K. Mellor, The New Annotated Frankenstein celebrates the prescient genius and undying legacy of the world’s "first truly modern myth." The New Annotated Frankenstein includes: Nearly 1,000 notes that provide information and historical context on every aspect of Frankenstein and of Mary Shelley’s life Over 200 illustrations, including original artwork from the 1831 edition and dozens of photographs of real-world locations that appear in the novel Extensive listings of films and theatrical adaptations An introduction by Guillermo del Toro and an afterword by Anne K. Mellor
Published in 1998, Ladies in the Laboratory provided a systematic survey and comparison of the work of 19th-century American and British women in scientific research. A companion volume, published in 2004, focused on women scientists from Western Europe. In this third volume, author Mary R.S. Creese expands her scope to include the contributions of 19th- and early 20th-century women of South Africa, Australia, New Zealand, and Canada. The women whose lives and work are discussed here range from natural history collectors and scientific illustrators of the early and mid years of the 19th century to the first generation of graduates of the new colonial colleges and universities. Rarely acknowledged in publications of the British and European specialists, the contributions of these women nonetheless formed a significant part of the natural history information about extensive, previously unknown regions and their products. Rather than a biographical dictionary or a collection of self-contained essays on individuals from many time periods, Ladies in the Laboratory III is a connected narrative tied into the wider framework of 19th-century science and education. A well-organized blend of individual life stories and quantitative information, this volume is for everyone interested in the story of women's participation in 19th century science. The stories of these women make for fascinating reading and serve as a valuable source for the student of women's and colonial history.
What does it mean to live during wartime away from the battle zone? What is it like for citizens to go about daily routines while their country sends soldiers to kill and be killed across the globe? Timely and thought-provoking, War at a Distance considers how those left on the home front register wars and wartime in their everyday lives, particularly when military conflict remains removed from immediate perception, available only through media forms. Looking back over two centuries, Mary Favret locates the origins of modern wartime in the Napoleonic era and describes how global military operations affected the British populace, as the nation's army and navy waged battles far from home for decades. She reveals that the literature and art produced in Britain during the late eighteenth and early nineteenth centuries obsessively cultivated means for feeling as much as understanding such wars, and established forms still relevant today. Favret examines wartime literature and art as varied as meditations on the Iliad, the history of meteorology, landscape painting in India, and popular poetry in newspapers and periodicals; she locates the embedded sense of war and dislocation in works ranging from Austen, Coleridge, and Wordsworth to Woolf, Stevens, and Sebald; and she contemplates how literature provides the public with methods for responding to violent calamities happening elsewhere. Bringing to light Romanticism's legacy in reflections on modern warfare, this book shows that war's absent presence affects home in deep and irrevocable ways.
Challenging traditional gender expectations, thousands of girls of Gibson's generation not only aspired to public careers as writers, artists, educators, and even doctors but also began to experiment with new forms of "female masculinity" in attitude, bearing, behavior, dress, and sexuality--a pattern only gradually domesticated by the nonthreatening image of the "tomboy." Some, such as Gibson, at once realized and reenacted their dreams on the pages of antebellum story papers. This first modern scholarly edition of Mary Gibson's early fiction features ten tales of teenage girls (seemingly much like Gibson herself) who fearlessly appropriate masculine traits, defy contemporary gender norms, and struggle to fulfill high worldly ambitions.
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