Pearl Primus (1919-1994) blazed onto the dance scene in 1943 with stunning works that incorporated social and racial protest into their dance aesthetic. In "The Dance Claimed Me," Peggy and Murray Schwartz, friends and colleagues of Primus, offer an intimate perspective on her life and explore her influences on American culture, dance, and education. They trace Primus's path from her childhood in Port of Spain, Trinidad, through her rise as an influential international dancer, an early member of the New Dance Group (whose motto was "Dance is a weapon"), and a pioneer in dance anthropology. Primus traveled extensively in the United States, Europe, Israel, the Caribbean, and Africa, and she played an important role in presenting authentic African dance to American audiences. She engendered controversy in both her private and professional lives, marrying a white Jewish man during a time of segregation and challenging black intellectuals who opposed the "primitive" in her choreography. Her political protests and mixed-race tours in the South triggered an FBI investigation, even as she was celebrated by dance critics and by contemporaries like Langston Hughes. For "The Dance Claimed Me," the Schwartzes interviewed more than a hundred of Primus's family members, friends, and fellow artists, as well as other individuals to create a vivid portrayal of a life filled with passion, drama, determination, fearlessness, and brilliance.
Kate Powell is forced to give up her role as midwife on a Cherokee reservation in Oklahoma when her husband maims a man in an attempt to protect her. Now, she struggles to rebuild her life in the rattlesnakeinfested mountains deep in the Cuyamaca range, just east of San Diego. Her dream of becoming a doctor vanished and her relationship with her husband deteriorating, she nearly gives up. But in a twist of fate, she learns that dreams can come true. `Round the square oak table, a family comes together to discover that where theres love all things are possible.
Peggy Orenstein’s bestselling Schoolgirls is the classic study of teenage girls and self-esteem. Now Orenstein uses the same interviewing and reporting skills to examine the lives of women in their 20s, 30s and 40s. The advances of the women’s movement allow women to grow up with a sense of expanded possibilities. Yet traditional expectations have hardly changed. To discover how they are navigating this double burden personally and professionally, Orenstein interviewed hundreds of women and has blended their voices into a compelling narrative that gets deep inside their lives and choices. With unusual sensitivity, Orenstein offers insight and inspiration for every woman who is making important decisions of her own.
In this revealing book Peggy Chiu argues against the common belief that maximizing wealth is the primary concern of ordinary small shareholders when they make their share-buying decisions. This fascinating in-depth study of small shareholders provides both theoretical and empirical insights into their personal values and attitudes to corporate social responsibility (CSR). The author establishes that personal values are a major influence on decisions about the type of investments people make and about which companies they choose to invest in. Financial risk and return are far from being the only factors that determine small shareholders' investment decisions - irresponsible behaviour is not acceptable and will not attract investment from this significant group. Looking Beyond Profit is an essential book, not just for encouraging investment managers to look more closely at their environmental impacts, but for finance advisers and all concerned with corporate governance, either as practitioners, researchers, business educators or students.
Every tween reader’s favorite procrastinator is back . . . in paperback! It isn't as though Moxy isn’t grateful for her Christmas presents. She is. She’s just not thrilled that she has to write a thank-you note for each one by tomorrow . . . or she will not be allowed to fly to Hollywood to attend a starstudded Hollywood bash with the father she hasn’t seen in three years. And writing thank-you notes is not something that a world-class Creative Type relishes doing. But it is more than writing thank-you notes that finally prevents Moxy from taking her trip. When her father cancels at the last minute, Moxy is forced to deal with the reality of a situation she doesn’t want to accept, and can’t change. But, not surprisingly, she rises to the occasion brilliantly. “Resourceful and resilient, Moxy is a pleasure to meet again.”—Kirkus Reviews, Starred
Peggy Orenstein’s bestselling Schoolgirls is the classic study of teenage girls and self-esteem. Now Orenstein uses the same interviewing and reporting skills to examine the lives of women in their 20s, 30s and 40s. The advances of the women’s movement allow women to grow up with a sense of expanded possibilities. Yet traditional expectations have hardly changed. To discover how they are navigating this double burden personally and professionally, Orenstein interviewed hundreds of women and has blended their voices into a compelling narrative that gets deep inside their lives and choices. With unusual sensitivity, Orenstein offers insight and inspiration for every woman who is making important decisions of her own.
In The Curse of Eve, the Wound of the Hero, Peggy McCracken explores the role of blood symbolism in establishing and maintaining the sex-gender systems of medieval culture. Reading a variety of literary texts in relation to historical, medical, and religious discourses about blood, and in the context of anthropological and religious studies, McCracken offers a provocative examination of the ways gendered cultural values were mapped onto blood in the Middle Ages. As McCracken demonstrates, blood is gendered when that of men is prized in stories about battle and that of women is excluded from the public arena in which social and political hierarchies are contested and defined through chivalric contest. In her examination of the conceptualization of familial relationships, she uncovers the privileges that are grounded in gendered definitions of blood relationships. She shows that in narratives about sacrifice a father's relationship to his son is described as a shared blood, whereas texts about women accused of giving birth to monstrous children define the mother's contribution to conception in terms of corrupted, often menstrual blood. Turning to fictional representations of bloody martyrdom and of eucharistic ritual, McCracken juxtaposes the blood of the wounded guardian of the grail with that of Christ and suggests that the blood from the grail king's wound is characterized in opposition to that of women and Jewish men. Drawing on a range of French and other literary texts, McCracken shows how the dominant ideas about blood in medieval culture point to ways of seeing modern values associated with blood in a new light, and how modern representations in turn suggest new perspectives on medieval perceptions.
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