Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. This book explores how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, the author challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. He examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson and Ida May Park directed films for Universal.

Who were the non-Western women delegates who took part in the drafting of the United Nations Charter and the Universal Declaration of Human Rights (UDHR) from 1945-1948? Which member states did these women represent, and in what ways did they push for a more inclusive language than "the rights of Man" in the texts? This book provides a gendered historical narrative of human rights from the San Francisco Conference in 1945 to the final vote of the UDHR in the United Nations General Assembly in December 1948. It highlights the contributions by Latin American feminist delegates, and the prominent non-Western female representatives from new member states of the UN.

The "woman question", this book asserts, is a Western one, and not a proper lens for viewing African society. A work that rethinks gender as a Western contruction, The Invention of Women offers a new way of understanding both Yoruban and Western cultures. Oyewumi traces the misapplication of Western, body-oriented concepts of gender through the history of gender discourses in Yoruba studies. Her analysis shows the paradoxical nature of two fundamental assumptions of feminist theory: that gender is socially constructed in old Yoruba society, and that social organization was determined by relative age.

This book presents the findings of the first comprehensive study on the most recent and most unique and innovative method of monitoring international human rights law at the United Nations. Since its existence, there has yet to be a complete and comprehensive book solely dedicated to exploring the Universal Periodic Review (UPR) process. Women and International Human Rights Law provides a much-needed insight to what the process is, how it operates in practice, and whether it meets its fundamental aim of promoting the universality of all human rights. The book addresses the topics with regard to international human rights law and will be of interest to researchers, academics, and students interested in the monitoring and implementation of international human rights law at the United Nations. In addition, it will form supplementary reading for those students studying international human rights law on undergraduate programmes and will also appeal to academics and students with interests in political sciences and international relations.

A Choice Outstanding Academic Title, 2011. Between 1912 and 1919, the Universal Film Manufacturing Company credited eleven women with directing at least 170 films, but by the mid-1920s all of these directors had left Universal and only one still worked in the film industry at all. Two generations of cinema historians have either overlooked or been stymied by the mystery of why Universal first systematically supported and promoted women directors and then abruptly reversed that policy. In this trailblazing study, Mark Garrett Cooper approaches the phenomenon as a case study in how corporate movie studios interpret and act on institutional culture in deciding what it means to work as a man or woman. In focusing on issues of institutional change, Cooper challenges interpretations that explain women's exile from the film industry as the inevitable result of a transhistorical sexism or as an effect of a broadly cultural revision of gendered work roles. Drawing on a range of historical and sociological approaches to studying corporate institutions, Cooper examines the relationship between institutional organization and aesthetic conventions during the formative years when women filmmakers such as Ruth Ann Baldwin, Cleo Madison, Ruth Stonehouse, Elise Jane Wilson, and Ida May Park directed films for Universal.

This book argues for the importance of bringing women and gender more directly into the dynamic field of exposition studies. Reclaiming women for the history of world fairs (1876-1937), it also seeks to introduce new voices into these studies, dialoguing across disciplinary and national historiographies. From the outset, women participated not only as spectators, but also as artists, writers, educators, artisans and workers, without figuring among the organizers of international exhibitions until the 20th century. Their presence became more pointedly acknowledged as feminist movements developed within the Western World and specific spaces dedicated to women’s achievements emerged. International exhibitions emerged as showcases of "modernity" and "progress," but also as windows onto the foreign, the different, the unexpected and the spectacular. As public rituals of celebration, they transposed national ceremonies and protests onto an international stage. For spectators, exhibitions brought the world home; for organizers, the entire world was a fair. Women were actors and writers of the fair narrative, although acknowledgment of their contribution was uneven and often ephemeral. Uncovering such silence highlights how gendered the triumphant history of modernity was, and reveals the ways women as a category engaged with modern life within that quintessential modern space—the world fair.

A lively, clear explanation of the American healthcare reform movement from a noted expert—giving women the tools they need to demand fair and affordable coverage for all people Healthcare is one of America’s most dysfunctional and confusing industries, and women bear the brunt of the problem when it comes to both access and treatment. Women, who make 80 percent of healthcare decisions for their families, are disproportionately impacted by the complex nature of our healthcare system—but are also uniquely poised to fix it. Founder and CEO of Day Health Strategies Rosemarie Day wants women to recognize their trouble with accessing affordable care as part of a national emergency. Day encourages women throughout the country to share their stories and get involved, and she illustrates how a groundswell of activism, led by everyday women, could create the incentives our political leaders need to change course. Marching Toward Coverage gives women the clear information they need to move this agenda forward by breaking down complicated topics in an accessible manner, like the ACA (Affordable Care Act), preexisting conditions, and employer-sponsored plans. With more than 25 years working in healthcare strategy and related fields, Day helps the average American understand the business of national health reform and lays out a pragmatic path forward, one that recognizes healthcare as a fundamental human right.

A transformational guide from the author of The Plot Whisperer to lead you—step by step—on a spiritual journey toward living your best, most creative life. Creativity engages our imagination and opens us up to thinking differently. It frees us from the constraints of everyday life, allowing us to access a part of ourselves that is not ruled by time, pressures, or conditions. It’s no wonder many of us long for more of it in our lives. When creative energy flows through us, it connects us to our deepest selves, as well as the world around us. If you’ve ever embarked on a creative project, you may have experienced moments of pure joy or a sense of higher consciousness, when creativity seemed to pour from you. It’s also likely you’ve encountered moments of feeling stuck or blocked, being full of fear and self-doubt, or just not seeing the point. The truth is, emotions have a way of powerfully disrupting our creative flow and dismantling our inspiration. And by examining how emotions affect creativity—how entangled we can become in our own negative thoughts and beliefs—we can learn to unblock channels of inspiration and reach our true creative potential. Boundless Creativity is designed to help writers, artists, and anyone feeling creatively blocked move beyond the self-doubt and criticism, past emotional wounds, and habits and patterns that keep you from realizing your artistic ambitions. Using a powerful technique called “The Universal Story”—a four-phase program with easy-to-follow steps and exercises—you’ll learn to identify and dissolve the emotional and energetic blocks that get in the way of your creativity. With these tips and tools, you’ll have the keys to unlock creative inspiration, intuition, and new ways of seeing yourself and the world—with acceptance, emotional balance, and a tolerance of imperfection.

In the last several decades, U.S. women's history has come of age. Not only have historians challenged the national narrative on the basis of their rich explorations of the personal, the social, the economic, and the political, but they have also entered into dialogues with each other over the meaning of women's history itself. In this collection of seventeen original essays on women's lives from the colonial period to the present, contributors take the competing forces of race, gender, class, sexuality, religion, and region into account. Among many other examples, they examine how conceptions of gender shaped government officials' attitudes towards East Asian immigrants; how race and gender inequality pervaded the welfare state; and how color and class shaped Mexican American women's mobilization for civil and labor rights.