Vol. for 1867 includes Illustrated catalogue of the Paris Universal Exhibition.

How and why are U.S. transnational corporations investing in the lives, educations, and futures of poor, racialized girls and women in the Global South? Is it a solution to ending poverty? Or is it a pursuit of economic growth and corporate profit? Drawing on more than a decade of research in the United States and Brazil, this book focuses on how the philanthropic, social responsibility, and business practices of various corporations use a logic of development that positions girls and women as instruments of poverty alleviation and new frontiers for capitalist accumulation. Using the Girl Effect, the philanthropic brand of Nike, Inc., as a central case study, the book examines how these corporations seek to address the problems of gendered poverty and inequality, yet do so using an instrumental logic that shifts the burden of development onto girls and women without transforming the structural conditions that produce poverty. These practices, in turn, enable corporations to expand their legitimacy, authority, and reach while sidestepping contradictions in their business practices that often exacerbate conditions of vulnerability for girls and women. With a keen eye towards justice, author Kathryn Moeller concludes that these corporatized development practices de-politicize girls’ and women’s demands for fair labor practices and a just global economy.

Modernist texts and writings of protest have until now received most of the critical attention of literary scholars of the First World War. Popular literature with its penchant for predictable storylines, melodramatic prose, and patriotic rhetoric has been much-maligned or at the very least ignored. Boys in Khaki, Girls in Print: Women's Literary Responses to the Great War redresses the balance. It turns the spotlight on the novels and memoirs of women writers - many of whom are now virtually forgotten - that appealed to a British reading public hungry for amusement, news, and above all, encouragement in the face of uncertainty and grief. The writers of 1914-18 had powerful models for interpreting their war, as a consideration of texts from the Anglo-Boer War of 1899-1902 shows. They were also bolstered by wartime publishing practices that reinforced the sense that their books, whether fiction or non-fiction, were not simply 'light' entertainment but a powerful agents of propaganda. Generously illustrated, Boys in Khaki, Girls in Print is a scholarly yet accessible illumination of a hitherto untapped resource of women's writing and is an important new contribution to the study of the literature of the Great War.

Today, millions of women and girls around the world enjoy running and entering races. It wasn’t always so: • In 1961, when Julia Chase edged to the start of a Connecticut 5-miler, officials tried to push her off the road. • At the 1966 Boston Marathon, Roberta Gibb hid behind a forsythia bush, worried that police might arrest her. • The next year at Boston, Kathrine Switzer was assaulted mid-race by a furious race organizer. • In the mid-60s, Indianapolis high schooler Cheryl Bridges was told not to run anywhere near the boys’ track team because she might “distract” them. • When Charlotte Lettis signed up for the University of Massachusetts cross-country team in the fall of 1971, she was told to use the men’s locker room. • A few years later in coastal Maine, young Joan Benoit would stop her workouts to pretend she was picking roadside flowers, embarrassed that her neighbors might spot her running. First Ladies of Running tells the inspiring stories of these and other fiercely independent runners who refused to give up despite the cultural and sports barriers they faced. Legends such as Doris Brown, Francie Larrieu, Mary Decker, Jackie Hansen, Miki Gorman, and Grete Waitz are chronicled by Runner’s World editor Amby Burfoot. Burfoot even runs the 1994 Marine Corps Marathon with Oprah Winfrey, whose successful finish opened the floodgates for other women runners. First Ladies of Running is a beautiful and long-overdue tribute to the pioneers of women’s running, and a gift of empowerment for female runners everywhere.