Virginia Valian uses concepts and data from psychology, sociology, economics, and biology to explain the disparity in the professional advancement of men and women. Why do so few women occupy positions of power and prestige? Virginia Valian uses concepts and data from psychology, sociology, economics, and biology to explain the disparity in the professional advancement of men and women. According to Valian, men and women alike have implicit hypotheses about gender differences—gender schemas—that create small sex differences in characteristics, behaviors, perceptions, and evaluations of men and women. Those small imbalances accumulate to advantage men and disadvantage women. The most important consequence of gender schemas for professional life is that men tend to be overrated and women underrated. Valian's goal is to make the invisible factors that retard women's progress visible, so that fair treatment of men and women will be possible. The book makes its case with experimental and observational data from laboratory and field studies of children and adults, and with statistical documentation on men and women in the professions. The many anecdotal examples throughout provide a lively counterpoint.
In this provocative work, Virginia Milhouse demonstrates how autoethnography combines creative and analytical practices to help bring to consciousness some complex social and political agendas hidden in narratorial writings. It demonstrates how an arts-based qualitative research method (narrative inquiry) can be fused with a scientific-based quantitative method (DMIS-IDI) and compliment, support and or correct each other. It also demonstrates how "writing as a method of inquiry" can be a viable way for researchers to learn about themselves and their research, as well as features standards for evaluating creatively and analytically constructed text. Further, the author''s examination of the aesthetics of "inner-readiness" and "in-betweeness" will be very helpful to people doing this kind of self-reflexive fieldwork. The reader will also appreciate this author''s recognition of the importance of combining qualitative and quantitative methodologies--something not many writers can do with great success. Also, this book will be a real contribution to sojourners and others traveling or living abroad. The work is very smart; and, is, beautifully and clearly written. The ''labyrinth'' quote at the beginning of her work is very fitting and certainly promises to illustrate those words.
Living on the streets and selling knickknacks with her destitute mother, Sasha Porter dreams of someday having a normal life, with a real house and family. But she never thought a devastating tragedy would bring her those very things: one stormy night, a speeding car veers out of control, killing her mother and badly injuring Sasha. While in hospital, Sasha is whisked off to a fancy private suite courtesy of the wealthy Mrs Jordan March, a complete stranger who insists that Sasha come to live at her family's luxurious mansion. With nowhere to go, Sasha accepts; however she soon learns that Mrs March has never gotten over the death of her daughter Alena. Before she knows it, Sasha is using Alena's old room, sleeping in her bed and wearing her clothes. But someone will make sure that Sasha never takes Alena's place: a jealous sister dead set on making Sasha's life a living hell.
The land grants listed herein were made by Lord Fairfax prior to the creation of the Virginia Land Office; by the Commonwealth of Virginia, of lands now embracing the State of West Virginia; and, by the State of West Virginia, under its first Constitution."--Page [1].
Eanger Irving Couse (1866–1936) showed remarkable promise as a young art student. His lifelong interest in Native American cultures also started at an early age, inspired by encounters with Chippewa Indians living near his hometown, Saginaw, Michigan. After studying in Europe, Couse began spending summers in New Mexico, where in 1915 he helped found the famous Taos Society of Artists, serving as its first president and playing a major role in its success. This richly illustrated volume, featuring full-color reproductions of his artwork, is the first scholarly exploration of Couse’s noteworthy life and artistic achievements. Drawing on extensive research, Virginia Couse Leavitt gives an intimate account of Couse’s experiences, including his early struggles as an art student in the United States and abroad, his study of Native Americans, his winter home and studio in New York City, and his life in New Mexico after he relocated to Taos. In examining Couse’s role as one of the original six founders of the Taos Society of Artists, the author provides new information about the art colony’s early meetings, original members, and first exhibitions. As a scholar of art history, Leavitt has spent decades researching her subject, who also happens to be her grandfather. Her unique access to the Couse family archives has allowed her to mine correspondence, photographs, sketchbooks, and memorabilia, all of which add fresh insight into the American art scene in the early 1900s. Of particular interest is the correspondence of Couse’s wife, Virginia Walker, an art student in Paris when the couple first met. Her letters home to her family in Washington State offer a vivid picture of her husband’s student life in Paris, where Couse studied under the famous painter William Bouguereau at the Académie Julian. Whereas many artists of the early twentieth century pursued a radically modern style, Couse held true to his formal academic training throughout his career. He gained renown for his paintings of southwestern landscapes and his respectful portraits of Native peoples. Through his depictions of the domestic and spiritual lives of Pueblo Indians, Couse helped mitigate the prejudices toward Native Americans that persisted during this era.
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