Lisa Joy Pruitt offers a new look at women's involvement in the mission movement, with a welcome focus on the often overlooked antebellum era. Most scholars have argued that the emergence of women as a dominant force in American Protestant missions in the late nineteenth-century was an outgrowth of nascent feminist activism in the various denominations. This new contribution suggests that the feminization of the later mission movement actually stemmed in large part from images of the "degraded Oriental woman" that popular evangelical literature had been circulating since the 1790s, and that the increasing focus on and involvement of women was supported by male denominational leaders as an important strategy for reaching the world with the Christian gospel. In the late eighteenth through the early nineteenth-centuries, popular evangelical literature began circulating descriptions of women of the "Orient" designed to illustrate the need of those women for the Christian gospel. Such powerful and widely disseminated images demonstrated to young American women their relatively privileged position in society and, throughout the nineteenth-century, led many to support the cause of missions with their money and sometimes their lives. A belief in the desperate need of "Oriental" women for salvation and social uplift was largely responsible for feminizing the American Protestant foreign mission movement. "A Looking-Glass for Ladies": American Protestant Women and the Orient in the Nineteenth Century traces the creation and dissemination of images of women who lived in that part of the world known to nineteenth-century Westerners as the "Orient." It examines the emotional power of those images tocreate sympathy in American women for their "sisters" in Asia. That sympathy catalyzed many evangelical women and men to argue for vocational roles for women, both married and single, in the mission movement. The book demonstrates the ways in which assumptions about the condition and needs of "Oriental" women shaped American evangelical women's self perceptions, as well as the evangelizing strategies of the missionaries and their sending agencies.

Has "three points in view ... viz. -- the unmasking of the false adherents to the Princess of Wales: the refutation of the slanders ... towards her august husband; and the present general condition of the women of fashion in this country."--Page 5.

In his theory of the 'mirror stage', the psychoanalyst and psychiatrist Jacques Lacan argued that the female body is defined by its lack of male attributes. Within this framework, he described female sexuality primarily as an absence, and assumed female subordination to the male gaze. However, what happens if one follows Jean Baudrillard's advice to 'swallow the mirror' and go through the 'looking-glass' to explore the reflections and realities that we encounter in the cultural mirror, which reflects the culture in question: its norms, ideals and values? What if the beautiful is inverted and becomes ugly; and the ugly is considered beautiful or shape-shifts into something conventionally thought of as beautiful? These are the fundamental questions that Basia Sliwinska poses in this important new enquiry into gender identity and the politics of vision in contemporary women's art.Through an innovative discussion of the mirror as a metaphor, Sliwinska reveals how the post-1989 practices of woman artists from both sides of the former Iron Curtain - such as Joanna Rajkowska, Marina Abramovic, Boryana Rossa, Natalia LL and Anetta Mona Chisa and Lucia Tkacova - go beyond gender binaries and instead embrace otherness and difference by playing with visual tropes of femininity. Their provocative works offer alternative representations of the female body to those seen in the cultural mirror. Their art challenges and deconstructs patriarchal representations of the social and cultural 'other', associated with visual tropes of femininity such as Alice in Wonderland, Venus and Medusa. The Female Body in the Looking-Glass makes a refreshing, radical intervention into art theory and cultural studies by offering new theoretical concepts such as 'the mirror' and 'genderland' (inspired by Alice's adventures in Wonderland) as critical tools with which we can analyse and explain recent developments in women's art.

The evolving technology of the looking glass -- First glimpses : mirrors in seventeenth-century New England -- Looking glass ownership in early America -- Reliable mirrors and troubling visions : nineteenth-century white -- Understandings of sight -- Fashioning whiteness -- Mirrors in black and red -- Epilogue