DigiCat Publishing presents to you this special edition of "Revolted Woman: Past, present, and to come" by Charles G. Harper. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
A Best Book of 2021 by NPR and The Washington Post Part graphic novel, part memoir, Wake is an imaginative tour de force that tells the “powerful” (The New York Times Book Review) story of women-led slave revolts and chronicles scholar Rebecca Hall’s efforts to uncover the truth about these women warriors who, until now, have been left out of the historical record. Women warriors planned and led revolts on slave ships during the Middle Passage. They fought their enslavers throughout the Americas. And then they were erased from history. Wake tells the “riveting” (Angela Y. Davis) story of Dr. Rebecca Hall, a historian, granddaughter of slaves, and a woman haunted by the legacy of slavery. The accepted history of slave revolts has always told her that enslaved women took a back seat. But Rebecca decides to look deeper, and her journey takes her through old court records, slave ship captain’s logs, crumbling correspondence, and even the forensic evidence from the bones of enslaved women from the “negro burying ground” uncovered in Manhattan. She finds women warriors everywhere. Using a “remarkable blend of passion and fact, action and reflection” (NPR), Rebecca constructs the likely pasts of Adono and Alele, women rebels who fought for freedom during the Middle Passage, as well as the stories of women who led slave revolts in Colonial New York. We also follow Rebecca’s own story as the legacy of slavery shapes her life, both during her time as a successful attorney and later as a historian seeking the past that haunts her. Illustrated beautifully in black and white, Wake will take its place alongside classics of the graphic novel genre, like Marjane Satrapi’s Persepolis and Art Spiegelman’s Maus. This story of a personal and national legacy is a powerful reminder that while the past is gone, we still live in its wake.
It was the 1960s -- a time of economic boom and social strife. Young women poured into the workplace, but the "Help Wanted" ads were segregated by gender and the "Mad Men" office culture was rife with sexual stereotyping and discrimination. Lynn Povich was one of the lucky ones, landing a job at Newsweek, renowned for its cutting-edge coverage of civil rights and the "Swinging Sixties." Nora Ephron, Jane Bryant Quinn, Ellen Goodman, and Susan Brownmiller all started there as well. It was a top-notch job -- for a girl -- at an exciting place. But it was a dead end. Women researchers sometimes became reporters, rarely writers, and never editors. Any aspiring female journalist was told, "If you want to be a writer, go somewhere else." On March 16, 1970, the day Newsweek published a cover story on the fledgling feminist movement entitled "Women in Revolt," forty-six Newsweek women charged the magazine with discrimination in hiring and promotion. It was the first female class action lawsuit--the first by women journalists -- and it inspired other women in the media to quickly follow suit. Lynn Povich was one of the ringleaders. In The Good Girls Revolt, she evocatively tells the story of this dramatic turning point through the lives of several participants. With warmth, humor, and perspective, she shows how personal experiences and cultural shifts led a group of well-mannered, largely apolitical women, raised in the 1940s and 1950s, to challenge their bosses -- and what happened after they did. For many, filing the suit was a radicalizing act that empowered them to "find themselves" and fight back. Others lost their way amid opportunities, pressures, discouragements, and hostilities they weren't prepared to navigate. The Good Girls Revolt also explores why changes in the law didn't solve everything. Through the lives of young female journalists at Newsweek today, Lynn Povich shows what has -- and hasn't -- changed in the workplace.
By comparing fictional representations with "real" New Women in late-Victorian Britain, Sally Ledger makes a major contribution to an understanding of the "Woman Question" at the end of the century. Chapters on imperialism, socialism, sexual decadence, and metropolitan life situate the "revolting daughters" of the Victorian age in a broader cultural context than previous studies.
This book views late Victorian femininity, the New Woman, and gender through literary representations of the figure of the monster, an appendage to the New Woman. The monster, an aberrant occurrence, performs Brecht’s “alienation effect,” making strange the world that she inhabits, thereby drawing veiled conclusions about the New Woman and gender at the end of the fin-de-siècle. The monster reveals that New Women loved one another complexly, not just as “friend” or “lover,” but both “friend” and “lover.” The monster, like the fin-de-siècle British populace, mocked the New Woman’s modernity. She was paradoxically viewed as a threat to society and as a role model for women to follow. The tragic suicides of “monstrous” New Women of color suggest that many fin-de-siècle authors, especially female authors, thought that these women should be included in society, not banished to its limits. This book, the first on the relationship between the figure of the monster and the New Woman, argues that there is hidden complexity to the New Woman. Her sexuality was complicated and could move between categories of sexuality and friendship for late Victorian women, and the way that the fin-de-siècle populace viewed her was just as multifarious. Further, the narratives of her tragedies ironically became narratives that advocated for her survival.
This book considers the ways in which the idea of evolution has been used in popular fiction, focusing mainly on novels of the Victorian and Edwardian periods but also including a closing section on Steven Spielberg's first two Jurassic Park films. The book's overall argument is that in many of these texts the version of origins proffered by Darwinian theory is suggestively played off against both the version of human origins offered by Milton (and, the book suggests, implicitly supported by Shakespeare) and the version of national origins offered by Virgil and by the myth of Brutus, legendary grandson of Aeneas and supposed first founder of Britain. Nevertheless, although these novels tend to give such prominence to alternatives to Darwinian theory, they are also very ready to draw on any aspects of it which will lend support to their own agendas, especially when it comes to drawing sharp distinctions between races and sexes. Although Darwinian theory posed challenges to contemporary orthodoxies and pieties, it could thus also be used in the support of some of them.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
Contains three early examples of the genre of New Woman writing, each portraying women in ways wholly different to those which had gone before. This title includes "Kith and Kin" (1881), "Miss Brown" and "The Wing of Azrael".
Drawing from and reworking Gothic conventions, the New Woman version is marshaled during a tumultuous cultural moment of gender anxiety either to defend or revile the complex character. The controversial and compelling figure of the New Woman in fin de siècle British fiction has garnered extensive scholarly attention, but rarely has she been investigated through the lens of the Gothic. Part I, “The Blurred Boundary,” examines an obfuscated distinction between the New Woman and the prostitute, presented in a stunning breadth and array of writings. Part II, “Reconfigured Conventions,” probes four key aspects of the Gothic, each of which is reshaped to reflect the exigencies of the fin de siècle. In Part III, “Villainous Characters,” the bad father of Romantic fiction is bifurcated into the husband and the mother, both of whom cause great suffering to the protagonist.
