Zoe Rose never quite fit in. As the only kid in kindergarten with an enormous red afro, Zoe was taunted by the other little girls for refusing to share her "Annie" wig, even when she swore it was her own hair (it was). In second grade, after seeing her best friend ridiculed for wearing a dirty, pink, polka-dot party dress to school every day, she became obsessed with understanding what makes normal girls tick and why they're so cruel to the girls who never seem to "get it." And so Zoe begins a lifelong study of girl behavior, and by thirty, finds herself editor of Issues magazine. Determined to raid the locker room of the female psyche and rip open the frilly façade of femininity once and for all, she sets out to reform an entire nation of women, beginning with the readers of the most notorious magazine on Madison Avenue. It's the feminist vs. the fashionistas. Can Zoe stop girls from behaving badly toward other girls, and turn them into a strong, united force that can succeed in our male-dominated world? Or will her spectacularly warped sense of humor, pathetic wardrobe, and plethora of psychosomatic illnesses get her eaten alive? Zoe's willing to risk losing it all, including her mind, but she'll walk away with something she never dreamed she wanted: the little girl hiding inside of her.
A collection of personal essays by popular young adult and women's fiction writers considers the ways in which the books of Judy Blume influenced their emotional, social, and physical developments.
A collection of personal essays by popular young adult and women's fiction writers considers the ways in which the books of Judy Blume influenced their emotional, social, and physical developments.
Discusses the friendship between Booker T. Wahington, founder of the Tuskegee Institute, and Julius Rosenwald, president of Sears, Roebuck and Company and how, through their friendship, they were able to build five thousand schools for African Americans in the Southern states.
In What Gardens Mean, Stephanie Ross draws on philosophy as well as the histories of art, gardens, culture, and ideas to explore the magical lure of gardens. Paying special attention to the amazing landscape gardens of eighteenth-century England, she situates gardening among the other fine arts, documenting the complex messages gardens can convey and tracing various connections between gardens and the art of painting. What Gardens Mean offers a distinctive blend of historical and contemporary material, ranging from extensive accounts of famous eighteenth-century gardens to incisive connections with present-day philosophical debates. And while Ross examines aesthetic writings from the seventeenth and eighteenth centuries, including Joseph Addison’s Spectator essays on the pleasures of imagination, the book’s opening chapter surveys more recent theories about the nature and boundaries of art. She also considers gardens on their own terms, following changes in garden style, analyzing the phenomenal experience of viewing or strolling through a garden, and challenging the claim that the art of gardening is now a dead one. (ed.)
Transatlantic Footholds: Turn-of-the-Century American Women Writers and British Reviewers analyses British reviews of American women fiction writers, essayists and poets between the periods of literary domesticity and modernism. The book demonstrates that a variety of American women writers were intelligently read in Britain during this era. British reviewers read American women as literary artists, as women and as Americans. While their notion of who counted as "women" was too limited by race and class, they eagerly read these writers for insight about how women around the world were entering debates on women’s place, the class struggle, religion, Indian policy, childrearing, and high society. In the process, by reading American women in varied ways, reviewers became hybrid and dissenting readers. The taste among British reviewers for American women’s books helped change the predominant direction that high culture flowed across the Atlantic from east-to-west to west-to-east. Britons working in London or far afield were deeply invested in the idea of "America." "America," their responses prove, is a transnational construct.
This multi-volume reset collection will address a significant shortfall in scholarly work, offering contemporary reviews of the work of Romantic women writers to a wider audience.
The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.
Exposes German Romanticism’s entanglements of aesthetic philosophy with racialized models of humanity Late Enlightenment philosophers and writers like Herder, Goethe, and Schiller broke with conventions of form and genre to prioritize an idealized, and racially coded, universality. Newly translated literatures from colonial contexts served as the basis for their evaluations of how to contribute to a distinctly “German” national literary tradition, one that valorized modernity and freedom and thus fortified crucial determinants of modern concepts of whiteness. Through close readings of both canonical and less-studied Romantic texts, Stephanie Galasso examines the intimately entwined histories of racialized subjectivity and aesthetic theory and shows how literary genre is both symptomatic and generative of the cultural violence that underpinned the colonial project. Poetic expression and its generic conventions continue to exert pressure on the framing and reception of the stories that can be told about interpersonal and structural experiences of oppression. Genre, Race, and the Production of Subjectivity in German Romanticism explores how white subjectivity is guarded by symbolic and material forms of violence.
The ancient Greeks established the very blueprint of Western civilization—our societies, institutions, art, and culture—and thanks to remarkable new findings, we know more about them than ever, and it's all here in this up-to-date introductory volume. Ancient Greece chronicles the rise, decline, resurgence, and ultimate collapse of the Greek empire from its earliest stirrings in the Bronze Age, through the Dark Ages and Classical period, to the death of Cleopatra and the conquests by Macedon and Rome (roughly 3000 B.C.E. to 30 B.C.E.). Drawing on the latest interpretations of artifacts, texts, and other evidence, this handbook takes both newcomers and long-time Hellenophiles inside the process of discovery, revealing not only what we know about ancient Greece but how we know it and how these cultures continue to influence us. There is no more authoritative or accessible introduction to the culture that gave us the Acropolis, Iliad and Odyssey, Herodotus and Thucydides, Sophocles and Aeschylus, Plato and Aristotle, and so much more.
Originally a euphemism for Princeton University’s Female Literary Tradition course in the 1980s, "chick lit" mutated from a movement in American women’s avant-garde fiction in the 1990s to become, by the turn of the century, a humorous subset of women’s literature, journalism, and advice manuals. Stephanie Harzewski examines such best sellers as Bridget Jones’s Diary The Devil Wears Prada, and Sex and the City as urban appropriations of and departures from the narrative traditions of the novel of manners, the popular romance, and the bildungsroman. Further, Harzewski uses chick lit as a lens through which to view gender relations in U.S. and British society in the 1990s. Chick Lit and Postfeminism is the first sustained historicization of this major pop-cultural phenomenon, and Harzewski successfully demonstrates how chick lit and the critical study of it yield social observations on upheavals in Anglo-American marriage and education patterns, heterosexual rituals, feminism, and postmodern values.
Packed with travel information, including more listings, deals, and insider tips:CANDID LISTINGS of hundreds of places to eat, sleep, drink, and feel like a localDETAILED MAPS for getting around cities, towns, trails, and transit systemsTRENCHANT TIPS about all things beer, from brew guides to ordering and toastingFESTIVALS, including Berlin's Love Parade--the world's largest dance partyVOLUNTEER, work, and study opportunities throughout GermanyRUGGED TRAILS and daunting peaks for enjoying Germany's breathtaking vistas
Schiller's Wound is an exciting work that will not only entice scholars but also serve as a useful resource for instructors who wish to reintroduce this important writer into their curricula. As the 200th anniversary of Schiller's death approaches, it will provide an invaluable context for further discussions of his work and its impact."--BOOK JACKET.
This multi-volume reset collection will address a significant shortfall in scholarly work, offering contemporary reviews of the work of Romantic women writers to a wider audience.
In 1963, Betty Friedan unleashed a storm of controversy with her bestselling book, The Feminine Mystique. Hundreds of women wrote to her to say that the book had transformed, even saved, their lives. Nearly half a century later, many women still recall where they were when they first read it. In A Strange Stirring, historian Stephanie Coontz examines the dawn of the 1960s, when the sexual revolution had barely begun, newspapers advertised for "perky, attractive gal typists," but married women were told to stay home, and husbands controlled almost every aspect of family life. Based on exhaustive research and interviews, and challenging both conservative and liberal myths about Friedan, A Strange Stirring brilliantly illuminates how a generation of women came to realize that their dissatisfaction with domestic life didn't't reflect their personal weakness but rather a social and political injustice.
Contemporary American poetry has plenty to offer new readers, and plenty more for those who already follow it. Yet its difficulty—and sheer variety—leaves many readers puzzled or overwhelmed. The critic, scholar, and poet Stephanie Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, Burt canvasses American poetry of the past four decades, from the headline-making urgency of Claudia Rankine’s Citizen to the stark pathos of Louise Glück, the limitless energy of Juan Felipe Herrera, and the erotic provocations of D. A. Powell. The Poem Is You: Sixty Contemporary American Poems and How to Read Them is a guide to the diverse magnificences of American poetry today. It presents a wide range of poems selected by Burt for this volume, each accompanied by an original essay explaining how a given poem works, why it matters, and how the poem speaks to other parts of art and culture. Included here are some classroom classics (by Ashbery, Komunyakaa, Hass), less famous poems by very famous poets (Glück, Kay Ryan), and poems by prizewinning poets near the start of their careers (such as Brandon Som), and by others who are not—or not yet—well known. The Poem Is You will appeal to poets, teachers, and students, but it is intended especially for readers who want to learn more about contemporary American poetry but who have not known where or how to start. It describes what American poets have fashioned for one another, and what they can give us today.
Introduction -- A linguist's tale -- A child's tale -- A neuroscientist's tale of words -- The deep reading brain -- A second revolution in the brain -- A tale of hope for non-literate children -- Epilogue.
A brilliant novel about history, the forgetting and rewriting of it, and a satire on a society that has lost compassion in the process. Smooch is a 'Whistler', a genetically altered lapdog with special talents, including the ability to remember his previous incarnations and to communicate directly from his brain by electronically downloading his thoughts onto disc. Smooch has been reincarnated many times, and has lived on many of the great laps of history, past and future. He can recall many of history's key moments, such as the birth of Jesus and the imprisonment of Mary Queen of Scots. The Whistler is a virtuosic feat: wise, funny and intelligent. Smooch's current reincarnation is in Sydney in the year 2318. The world has gone to hell: democratic government worldwide has given way to a society run by corporations, pollution is everywhere, and society is heavily stratified between the haves and have nots.
Women Write Back explores the late eighteenth- and early nineteenth-century women's responses to texts written by well-known Enlightment figures. Hilger investigates the authorial strategies employed by Karoline von Günderrode, Ellis Cornelia Knight, Julie de Krüdener, and Helen Maria Williams, whose works engage Voltaire's Mahomet, Johnson's Rasselas, Goethe's Werther, and Rousseau's Julie. The analysis of these women's texts sheds light on the literary culture of a period that deemed itself not only enlightened but also egalitarian.
One of the most prolific and influential artists of the 20th century, Jean Dubuffet has featured in a multitude of exhibitions and catalogues. Yet he remains one of the most misunderstood-and least interrogated-postwar French artists. Celebrating Art Brut (the art of ostensible outsiders) while posing as an outsider himself, Dubuffet mingled with many great artists, writers, and theorists, developing an elaborate and nuanced stream of conceptual resources to reconfigure painting and reframe postwar anticultural discourses. This book reexamines Dubuffet's art through the lens of these portraits (a veritable who's who of the Parisian art and intellectual scene) in tandem with his writings and the art and writings of his Surrealist sitters. Investigating Dubuffet's painting as bricolage, this book reveals his reliance upon an anticulture culture and the appropriation of motifs from Surrealism to the South Pacific to explore the themes of multivalence, performativity, and multifaceted identity in his portraits.
Mixed feelings, Daniel Gross reminds us, are at the heart of Jane Austen's novel, Sense and Sensibility. We think we know what "mixed feelings" means, like a recipe: combine two parts a feeling like gratitude, one part happiness, a dash of resentment, and you get something like Elinor. But mixed feelings in the novel and beyond, Gross insists, are poorly served by this dis-equilibrium model; in fact mixed feelings are a matter of negotiated circumstances where feelings may be at odds as they converge on character. Hence the significance of literature and particularly the sentimental novel as a cross-disciplinary research domain, where this kind of rhetorical situation is exquisitely detailed. Gross gets considerable play out of Jane Austin as one of his research arenas, while at the same time referencing the sciences of situated emotion and behavioral economics to offer a new way of understanding mixed feelings as rhetorically situated. While that is but one thrust among several here, Gross explores at the same time a methodological opportunity at the interface of science and the humanities, beyond recent work in "Cognitive Approaches to Literature," which as he sees it tends to proceed unecologically (uncontextually) toward theory of mind. In contrast to his previous landmark study The Secret History of Emotion, here Gross carves out a space for cross-disciplinary work on emotion with a "situated emotion" critique of the basic emotions program, a "situated cognition" critique of computational psychology, and a critique of evolutionary psychology from many angles including cognitive scientific. The outcome is collaborative work across the sciences and humanities, where uncomfortable situations provide a paradigm for study. New insight into brain-body-world dynamics may yet arise from experiments in neuroscience and the situational concerns of the humanities, and the two-cultures divide may dissolve when shared phenomena like human emotions are treated with the diversity of methods and cross-disciplinary conversation their complexity deserves.
Ramses the 2nd was one of the greatest pharaohs to rule ancient Egypt. Throughout his reign, he ordered the construction of more temples and monuments than any other ruler. His accomplishments and long-lasting rein earned him the title of Ramses the Great.
Wit, compassion and insight combine in this entertaining novel that explores the politics and human comedy behind writers’ festivals and the publishing industry. Writers’ festivals can be hotbeds of literary and romantic intrigue, and the Oceania is up there with the best of them. Rookie director Rae McKay, recently returned from New York, fears she has bitten off more than she can chew. Pressure comes not only from local and international writers but also from the prestigious Opus Book Award, which this year is being hosted by the festival. Add to that high-level diplomatic fallout surrounding a dissident Chinese writer, Rae’s slowly disintegrating private life and ongoing dramas involving much loved characters of The Writing Class, and the result is a wise and witty novel that explores the contemporary phenomenon of the public face of the writer. This lively, stand-alone novel is as ‘intelligent, tender and funny’ as readers found The Writing Class. '. . . a book that's sophisticated, witty and - best of all - generous in its attitudes to its characters. It's a love letter to reading and writing and things readers and writers share, especially the mutual effort to understand the world and the people in it.' - Paul Little, North & South on The Writing Class
Interrogating Privilege is a welcome combination of personal essays and academic research, blending theory, analysis, and narrative to explore the function and consequences of privilege in second language education. While teachers’ focus on the learning process and class goals are quite important, there is not enough attention paid to the types of privilege—or lack thereof—that individuals bring to the classroom. Through chapters that can either stand alone or be read together, with topics such as gender, age, and colonialism (the author is the daughter of missionary parents) in second language teaching, this book seeks to address the experiences of teachers, scholars, and students as “whole persons” and to observe the workings of identity and privilege in the educational setting.
Ancient Greeks chronicles the rise, decline, resurgence, and ultimate collapse of the Greek empire from its earliest stirrings in the Bronze Age, through the Dark Ages and Classical period, to the death of Cleopatra and the conquests by Macedon and Rome.
The author of "Intimacy and Solitude" offers a brilliantly clear, optimistic book which shows how the great humane virtues can help in times of hardship and lead to a joyful, trusting, enriched life.
What happens when an individual becomes the subject of many and divergent portraits? “Biography,” says Stephanie Kirkwood Walker, “is a deceptive genre. Positioned between fact and fiction and elusive in its purposes, biography displays an individual life, an existence patterned by conventions that have also shaped the reader’s experience.” In This Woman in Particular, Walker explores versions of Emily Carr’s life that have appeared over the last half-century. Walker contends that the biographical image of Emily Carr that emerges from an accumulation of biographies, films, plays and poetry as well as her own autobiographical writing establishes an elaborated cultural artefact — an “image” that is bound by its very nature to remain forever incomplete and always elusive. She demonstrates how changes in Carr’s biographical image parallel the maturing of Canadian biographical writing, reflecting attitudes toward women artists and the shifting balance between religion, secular attitudes and contemporary spirituality. And she concludes that biography plays a crucial role in all our lives in initiating and sustaining debate on vital personal and collective concerns.
In the wake of the French Revolution, history was no longer imagined as a cyclical process in which the succession of ruling dynasties was as predictable as the change in the seasons. Contemporaries wrestled with the meaning of this historical rupture, which represented both the progress of the Enlightenment and the darkness of the Terreur. French authors discussed the political events in their country, but they were not the only ones to do so. As the effects of the French Revolution became more palpable across the border, German authors pondered their implications in newspapers, political pamphlets, and historiographical treatises. German women also participated in these debates, but they often embedded their political commentary in literary texts because they were discouraged, and sometimes even barred, from publishing in explicitly political and public venues. As such, literature, in the sense of belles lettres, had a compensatory function for women: it allowed them to engage in political discussion without explicitly encroaching on certain domains that were perceived as a male preserve. As women writers explored the uses of literature for political commentary they adapted major literary genres in order to consolidate their position in the late eighteenth- and early nineteenth-century literary sphere. Those genres included domestic fiction, the historical novel, historical tragedy, autobiography, the Robinsonade,and the Bildungsroman. Women writers challenged the images of women traditionally portrayed in these genres: dutiful daughter, submissive wife, caring mother, tantalizing mistress, angelic figure, and passive victim. Gender and Genre discusses six women writers who replaced these traditional female types with women warriors and emigrants as protagonists in texts published between 1795 and 1821: Therese Huber, Caroline de la Motte Fouqué, Christine Westphalen, Regula Engel, Sophie von La Roche, and Henriette Frölich. These authors’ protagonists question traditional images of passive femininity, yet their battered bodies also depict the precarious position of women in general, and women writers in particular, during this period. Because women writers were attacked by their male counterparts who attempted to halt their foray into the literary marketplace, these texts are as much about power dynamics in the German literary establishment as they are about French politics.
This multi-volume reset collection will address a significant shortfall in scholarly work, offering contemporary reviews of the work of Romantic women writers to a wider audience.
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