As documented in her poetry and fiction, Parker's modernism moves beyond a narrow set of aesthetic principles; it carries the remnants from a collision of competing values, those of nineteenth-century sentimentalism, and twentieth-century decadence and modernism. Her works display the intense dynamic in which early twentieth-century literature and art were created."--BOOK JACKET.

While everyone alive today is guaranteed to have ancestors, no one is born with a similar guarantee to have descendants. In a parallel truism, everyone alive in the year 2200 AD will be able to trace his or her lineal ancestry to a parental stock in the year 200 AD. This book addresses two questions 1) Which facets of current cultures are aligned with enhanced fertility of their members and which facets of current cultures are aligned with reduced fertility of their members? and 2) What evolutionary pressures sculpted the reproductive psychology of current women and the behavioural consequences of that psychology?.

The Female Complaint is part of Lauren Berlant’s groundbreaking “national sentimentality” project charting the emergence of the U.S. political sphere as an affective space of attachment and identification. In this book, Berlant chronicles the origins and conventions of the first mass-cultural “intimate public” in the United States, a “women’s culture” distinguished by a view that women inevitably have something in common and are in need of a conversation that feels intimate and revelatory. As Berlant explains, “women’s” books, films, and television shows enact a fantasy that a woman’s life is not just her own, but an experience understood by other women, no matter how dissimilar they are. The commodified genres of intimacy, such as “chick lit,” circulate among strangers, enabling insider self-help talk to flourish in an intimate public. Sentimentality and complaint are central to this commercial convention of critique; their relation to the political realm is ambivalent, as politics seems both to threaten sentimental values and to provide certain opportunities for their extension. Pairing literary criticism and historical analysis, Berlant explores the territory of this intimate public sphere through close readings of U.S. women’s literary works and their stage and film adaptations. Her interpretation of Uncle Tom’s Cabin and its literary descendants reaches from Harriet Beecher Stowe to Toni Morrison’s Beloved, touching on Shirley Temple, James Baldwin, and The Bridges of Madison County along the way. Berlant illuminates different permutations of the women’s intimate public through her readings of Edna Ferber’s Show Boat; Fannie Hurst’s Imitation of Life; Olive Higgins Prouty’s feminist melodrama Now, Voyager; Dorothy Parker’s poetry, prose, and Academy Award–winning screenplay for A Star Is Born; the Fay Weldon novel and Roseanne Barr film The Life and Loves of a She-Devil; and the queer, avant-garde film Showboat 1988–The Remake. The Female Complaint is a major contribution from a leading Americanist.

Improving your relationships by understanding how men and women cope differently with stress.

As mass media burgeoned in the years between the first and second world wars, so did another phenomenon—celebrity. Beginning in Hollywood with the studio-orchestrated transformation of uncredited actors into brand-name stars, celebrity also spread to writers, whose personal appearances and private lives came to fascinate readers as much as their work. Women, Celebrity, and Literary Culture between the Wars profiles seven American, Canadian, and British women writers—Dorothy Parker, Anita Loos, Mae West, L. M. Montgomery, Margaret Kennedy, Stella Gibbons, and E. M. Delafield—who achieved literary celebrity in the 1920s and 1930s and whose work remains popular even today. Faye Hammill investigates how the fame and commercial success of these writers—as well as their gender—affected the literary reception of their work. She explores how women writers sought to fashion their own celebrity images through various kinds of public performance and how the media appropriated these writers for particular cultural discourses. She also reassesses the relationship between celebrity culture and literary culture, demonstrating how the commercial success of these writers caused literary elites to denigrate their writing as "middlebrow," despite the fact that their work often challenged middle-class ideals of marriage, home, and family and complicated class categories and lines of social discrimination. The first comparative study of North American and British literary celebrity, Women, Celebrity, and Literary Culture between the Wars offers a nuanced appreciation of the middlebrow in relation to modernism and popular culture.

Despite a recent increase in the productivity and popularity of Indigenous playwrights in Canada, most critical and academic attention has been devoted to the work of male dramatists, leaving female writers on the margins. In Indigenous Women’s Theatre in Canada, Sarah MacKenzie addresses this critical gap by focusing on plays by Indigenous women written and produced in the socio-cultural milieux of twentieth and twenty-first century Canada. Closely analyzing dramatic texts by Monique Mojica, Marie Clements, and Yvette Nolan, MacKenzie explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women. These plays provide an avenue for individual and potential cultural healing by deconstructing some of the harmful ideological work performed by colonial misrepresentations of Indigeneity and demonstrate the strength and persistence of Indigenous women, offering a space in which decolonial futurisms can be envisioned. In this unique work, MacKenzie suggests that colonialist misrepresentations of Indigenous women have served to perpetuate demeaning stereotypes, justifying devaluation of and violence against Indigenous women. Most significantly, however, she argues that resistant representations in Indigenous women’s dramatic writing and production work in direct opposition to such representational and manifest violence.

The book surveys the ways in which Christian ideas and institutions shaped sexual norms and conduct from the time of Luther and Columbus to that of Thomas Jefferson. It is global in scope and geographic in organization, with chapters on Protestant, Catholic, and Orthodox Europe, Latin America, Africa and Asia, and North America. All the key topics are covered, including marriage and divorce, fornication and illegitimacy, clerical sexuality, same-sex relations, witchcraft and love magic, moral crimes, and inter-racial relationships. Each chapter in this second edition has been fully updated to reflect new scholarship, with expanded coverage of many of the key issues, particularly in areas outside of Europe. Other updates include extra analysis of the religious ideas and activities of ordinary people in Europe, and new material on the colonial world. The book sets its findings within the context of many historical fields- the history of sexuality and the body, women's history, legal and religious history, queer theory, and colonial studies- and provides readers with an introduction to key theoretical and methodological issues in each of these areas. Each chapter includes an extensive section on further reading, surveying and commenting on the newest English-language secondary literature.

The evidence of women in the Americas is conspicuously absent from most historical syntheses of the Spanish invasion and early colonization of the New World. Karen Powers's ethnohistoric account is the first to focus on non-military incidents during this transformative period. As she shows, native women's lives were changed dramatically. Women in the Crucible of Conquestuncovers the activities and experiences of women, shows how the intersection of gender, race, and class shaped their lives, and reveals the sometimes hidden ways they were integrated into social institutions. Powers's premise is that women were demoted in status across race and class and that some women resisted this trend. She describes the ways women made spaces for themselves in colonial society, in the economy, and in convents as well as other religious arenas, such as witchcraft. She shows how violence and intimidation were used to control women and writes about the place of sexual relations, especially miscegenation, in the forging of colonial social and economic structures. From Karen Vieira Powers's Introduction: "During the colonization process, indigenous women suffered, perhaps, the most precipitous decline in status of any group of colonial women. For this reason, and because they were numerically superior to all other women, I have chosen to make them the heart of this book. Nevertheless, the work also treats Spanish women, racially mixed women (mestizas, mulattas, zambas, etc.), and African women."