How to Raise Empowered Girls in a Princess World! It's no secret that little girls love princesses, but behind the twirly dresses and glittery crowns sits a powerful marketing machine, delivering negative stereotypes about gender, race, and beauty to young girls. So how can you protect your daughter, fight back, and offer new, less harmful options for their princess obsession? The Princess Problem features real advice and stories from parents, educators, psychologists, children's industry insiders that will help equip our daughters to navigate the princess-saturated media landscape. With excellent research and tips to guide parents through honest conversations with their kids, The Princess Problem is the parenting resource to raising thoughful, open-minded children. "a very insightful look at our princess culture...Parents—this is a must read!" — Brenda Chapman, Writer/Director, Disney/Pixar's BRAVE
How to Raise Empowered Girls in a Princess World! It's no secret that little girls love princesses, but behind the twirly dresses and glittery crowns sits a powerful marketing machine, delivering negative stereotypes about gender, race, and beauty to young girls. So how can you protect your daughter, fight back, and offer new, less harmful options for their princess obsession? The Princess Problem features real advice and stories from parents, educators, psychologists, children's industry insiders that will help equip our daughters to navigate the princess-saturated media landscape. With excellent research and tips to guide parents through honest conversations with their kids, The Princess Problem is the parenting resource to raising thoughful, open-minded children. "a very insightful look at our princess culture...Parents—this is a must read!" — Brenda Chapman, Writer/Director, Disney/Pixar's BRAVE
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
In 1916, when Rebecca West was not yet twenty-five years old, George Bernard Shaw wrote: 'Rebecca can handle a pen as brilliantly as ever I could and much more savagely.' These early writings, collected ehre for the first time, established Rebecca West's reputation as a brilliant journalist and a dedicated yet undogmatic feminist and socialist. From the age of nineteen, writing articles for The Freewoman, and later the Clarion, she displayed her characteristic fierce intelligence, her passion and her biting wit in articles on women's suffrage, imperialism, the Labour Party, and trade unionism as well as literature, religion, domesticity, men and crime. Whether reviewing the latest novel by H.G. Wells ('the sex obsession that lay clotted on Ann Veronica... like cold white sauce'), describing police brutality against suffragettes ('An Orgy of Disorder and Cruelty'), or arguing for better conditions for working women ('Women ought to understand that in submitting themselves to this swindle of underpayment, they are not only insulting themselves, but doing a deadly injury to the community'), she demonstrated again and again a characteristic fearlessness and a formidable grasp of events. Including a short story, 'Indissoluble Matrimony', which appeared in the historic first issue of Blast, and a biographical essay of great psychological penetration on the suffragette Emmeline Pankhurst, this exhilerating collection introduces the early work of one of the most distinguished writers of our time and provides a portrait of a fascinating and turbulent period of British political and literary history.
I am married to Christopher Bell and resides in Princeton, NC. I am a mother of two daughters and four wonderful grandchildren. I earned my degrees in the Early Childhood fields and became a Early Childhood Educator with over 15 years of experience. I am a first time author and illustrator. My passion, my life experiences and years of working young children has influence the creation of this book. I am also a lover of any aesthetics, fine arts and creative minds. I feel rewarded every time I witness a child develop in a positive way.
As African American women left the plantation economy behind, many entered domestic service in southern cities and towns. Cooking was one of the primary jobs they performed, feeding generations of white families and, in the process, profoundly shaping southern foodways and culture. In Cooking in Other Women's Kitchens: Domestic Workers in the South, 1865-1960, Rebecca Sharpless argues that, in the face of discrimination, long workdays, and low wages, African American cooks worked to assert measures of control over their own lives. As employment opportunities expanded in the twentieth century, most African American women chose to leave cooking for more lucrative and less oppressive manufacturing, clerical, or professional positions. Through letters, autobiography, and oral history, Sharpless evokes African American women's voices from slavery to the open economy, examining their lives at work and at home. The enhanced electronic version of the book includes twenty letters, photographs, first-person narratives, and other documents, each embedded in the text where it will be most meaningful. Featuring nearly 100 pages of new material, the enhanced e-book offers readers an intimate view into the lives of domestic workers, while also illuminating the journey a historian takes in uncovering these stories.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
As African American women left the plantation economy behind, many entered domestic service in southern cities and towns. Cooking was one of the primary jobs they performed, feeding generations of white families and, in the process, profoundly shaping southern foodways and culture. Rebecca Sharpless argues that, in the face of discrimination, long workdays, and low wages, African American cooks worked to assert measures of control over their own lives. As employment opportunities expanded in the twentieth century, most African American women chose to leave cooking for more lucrative and less oppressive manufacturing, clerical, or professional positions. Through letters, autobiography, and oral history, Sharpless evokes African American women's voices from slavery to the open economy, examining their lives at work and at home.
While doing two years’ Bible research for finding how our bodies are made in very similar fashion to principles seen in the Bible, I started getting more and more interested in the verses related to hope. I started to write a daily devotional book on hope but then started to see more and more verses that did not have the word “hope” in them but spoke to me on important principles of hope. I also started to notice different verses that discussed different types of fear, what we are to fear and what we shouldn’t fear. With this, I saw just how much fear is on the other side of hope. I also saw just how much God wants to give us hope through Him. The writing of this book was a truly evolving process. I wanted to combine my paintings with these verses so that people might notice the verses more when highlighted by color, starting with just a “verse of the day.” My family led me to write more about why I picked the verses I picked, so the second part of this process turned into me writing about what I saw in these verses, turning into a starting point for journaling. I want this book to be a starting point to help people journal as they see these verses and what I felt reading them, able to add what they see. Beyond this, I want it to be a starting point for people to want to look more into the Bible and what is put in there for us. Each time I read some of my favorite passages, I’m able to see more and learn more. I want each reader to enjoy the same opportunities of this journey of walking with God through His Word. This last three years has taken a toll on a lot of people. I want this book to help encourage people to not give up, to hold on to what God offers us, even when things get tough and confusing. All pictures in this book are my paintings, and I’m hoping they will be a way to help people stay interested in all the verses on hope and how to drive out fear.
‘From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television’ is a comprehensive and accessible introduction to key debates concerning the representations of motherhood, motherwork and the maternal role in contemporary television programming. The volume looks at the construction of motherhood in the ostensibly female genre of soap opera; the mother as housewife in the domestic situation comedy; deviant, desiring and delinquent motherwork in the teen drama; the single working mother in the contemporary dramedy; the fragile and failing mother of reality parenting television; the serene and selfless celebrity motherhood profile; and the new mother in reality pregnancy and childbirth television. ‘Motherhood and Popular Television’ examines the depiction of motherhood in this wide range of popular television genres in order to illustrate how the maternal role is being constructed, circulated and interrogated in contemporary factual and fictional programming, paying particular attention to the ways in which such images can be seen to challenge or conform to the ideal image of the ‘good’ mother that dominates the contemporary cultural landscape.
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