Feminism is explored by various feminists, including Charlotte Perkins Gilman, Jane Addams, Isadora Duncan, and Emma Goldman.

Author and Journalist Floyd Dell pens this book on the Feminist movement. His treatment of the subject is not on the movement as a sociological abstraction to be discussed at length in heavy monographs but rather to take it as the sum of the action of a lot of women, and taken account of in the lives of individual women. He therefore features the stories of women who in his mind epitomize feminism at its best. The women featured include: Charlotte Perkins Gilman, Jane Addams, Emmeline Pankhurst, Olive Schreiner, Isadora Duncan, Beatrice Webb, Emma Goldman, Margaret Dreier Robins and Ellen Key.

This handsomely illustrated book is a welcome addition to the history of women during America’s Gilded Age. Wanda M. Corn takes as her topic the grand neo-classical Woman’s Building at the 1893 Columbian Exposition in Chicago, a structure celebrating modern woman’s progress in education, arts, and sciences. Looking closely at the paintings and sculptures women artists made to decorate the structure, including the murals by Mary Cassatt and Mary MacMonnies, Corn uncovers an unspoken but consensual program to visualize a history of the female sex and promote an expansion of modern woman’s opportunities. Beautifully written, with informative sidebars by Annelise K. Madsen and artist biographies by Charlene G. Garfinkle, this volume illuminates the originality of the public images female artists created in 1893 and inserts them into the complex discourse of fin de siècle woman’s politics. The Woman’s Building offered female artists an unprecedented opportunity to create public art and imagine an historical narrative that put women rather than men at its center.

The landmark, prize-winning, international bestselling examination of how a gender gap in data perpetuates bias and disadvantages women. #1 International Bestseller * Winner of the Financial Times and McKinsey Business Book of the Year Award * Winner of the Royal Society Science Book Prize Data is fundamental to the modern world. From economic development to health care to education and public policy, we rely on numbers to allocate resources and make crucial decisions. But because so much data fails to take into account gender, because it treats men as the default and women as atypical, bias and discrimination are baked into our systems. And women pay tremendous costs for this insidious bias: in time, in money, and often with their lives. Celebrated feminist advocate Caroline Criado Perez investigates this shocking root cause of gender inequality in Invisible Women. Examining the home, the workplace, the public square, the doctor’s office, and more, Criado Perez unearths a dangerous pattern in data and its consequences on women’s lives. Product designers use a “one-size-fits-all” approach to everything from pianos to cell phones to voice recognition software, when in fact this approach is designed to fit men. Cities prioritize men’s needs when designing public transportation, roads, and even snow removal, neglecting to consider women’s safety or unique responsibilities and travel patterns. And in medical research, women have largely been excluded from studies and textbooks, leaving them chronically misunderstood, mistreated, and misdiagnosed. Built on hundreds of studies in the United States, in the United Kingdom, and around the world, and written with energy, wit, and sparkling intelligence, this is a groundbreaking, highly readable exposé that will change the way you look at the world.

Examined here is the historical figure and architectural patronage of Hadice Turhan Sultan, the young mother of the Ottoman Sultan Mehmed IV, who for most of the latter half of the seventeenth century shaped the political and cultural agenda of the Ottoman court. Captured in Russia at the age of twelve, she first served the reigning sultan's mother in Istanbul. She gradually rose through the ranks of the Ottoman harem, bore a male child to Sultan Ibrahim, and came to power as a valide sultan, or queen mother, in 1648. It was through her generous patronage of architectural works-including a large mosque, a tomb, a market complex in the city of Istanbul and two fortresses at the entrance to the Dardanelles-that she legitimated her new political authority as a valide and then attempted to support that of her son. Central to this narrative is the question of how architecture was used by an imperial woman of the Ottoman court who, because of customary and religious restrictions, was unable to present her physical self before her subjects' gaze. In lieu of displaying an iconic image of herself, as Queen Elizabeth and Catherine de Medici were able to do, Turhan Sultan expressed her political authority and religious piety through the works of architecture she commissioned. Traditionally historians have portrayed the role of seventeenth-century royal Ottoman women in the politics of the empire as negative and de-stabilizing. But Thys-Senocak, through her examination of these architectural works as concrete expressions of legitimate power and piety, shows the traditional framework to be both sexist and based on an outdated paradigm of decline. Thys-Senocak's research on Hadice Turhan Sultan's two Ottoman fortresses of Seddülbahir and Kumkale improves in a significant way our understanding of early modern fortifications in the eastern Mediterranean region and will spark further research on many of the Ottoman fortifications built in the area. Plans and elevations of the fortresses are published and analysed here for the first time. Based on archival research, including letters written by the queen mother, many of which are published here for the first time, and archaeological fieldwork, her work is also informed by recent theoretical debates in the fields of art history, cultural history and gender studies.

Exploring the ways a woman-centered worldview can transform social policy, social services, and direct practice, twelve chapters address issues such as family violence, welfare reform, child welfare, mental health, racism, equality, supporting the strengths of older women, promoting reentry for formerly incarcerated women, and lesbianism and bisexuality. Contributors include social workers as well as scholars of social work and women's studies. Annotation copyrighted by Book News, Inc., Portland, OR

A Winning Formula for Selling to Women Around the World Avon has come a long way since handing out its first perfume sample back in 1886. The company, long famous for ringing customer doorbells, is now the world's largest direct sales organization—with almost five million representatives in more than 140 countries. AVON: Building the World's Premier Company for Women is the first book ever to show how this cosmetics juggernaut achieved such incredible success, while revealing secrets any business can use to effectively market products of all kinds—especially to women. Through this entertaining journey, you'll not only learn the colorful Avon story, but also see how every company, big or small, can benefit from its unique approach to sales and product development. "By providing women with an unlimited opportunity for career success, Avon harnessed the power of a committed sales force to win customers and grow the business. The company's success story is testimony to the importance of focusing on your core business while recognizing the changes taking place with your customers and the environment." —Mary Sammons, President and CEO, Rite Aid Corporation "The book is an excellent primer on how to successfully make alternative forms of distribution work." —Allen Burke, Director of Merchandising, QVC, Inc. "The author's incisive revelations . . . capture the extraordinary personalities and entrepreneurial strategies of one of America's most spellbinding success stories." —Annette Green, President Emeritus, The Fragrance Foundation

"A beautiful coffee table book celebrating the Maestrapeace Mural that adorns San Francisco Mission District's Women's Building, in time for the 25th anniversary of the mural in 2019"--

A treatise of Black women’s transformative influence in media and society, placing them front and center in a new chapter of mainstream resistance and political engagement In Reclaiming Our Space, social worker, activist, and cultural commentator Feminista Jones explores how Black women are changing culture, society, and the landscape of feminism by building digital communities and using social media as powerful platforms. As Jones reveals, some of the best-loved devices of our shared social media language are a result of Black women’s innovations, from well-known movement-building hashtags (#BlackLivesMatter, #SayHerName, and #BlackGirlMagic) to the now ubiquitous use of threaded tweets as a marketing and storytelling tool. For some, these online dialogues provide an introduction to the work of Black feminist icons like Angela Davis, Barbara Smith, bell hooks, and the women of the Combahee River Collective. For others, this discourse provides a platform for continuing their feminist activism and scholarship in a new, interactive way. Complex conversations around race, class, and gender that have been happening behind the closed doors of academia for decades are now becoming part of the wider cultural vernacular—one pithy tweet at a time. With these important online conversations, not only are Black women influencing popular culture and creating sociopolitical movements; they are also galvanizing a new generation to learn and engage in Black feminist thought and theory, and inspiring change in communities around them. Hard-hitting, intelligent, incisive, yet bursting with humor and pop-culture savvy, Reclaiming Our Space is a survey of Black feminism’s past, present, and future, and it explains why intersectional movement building will save us all.

The World's Columbian Exhibition, held in Chicago in 1893, included amazing exhibits of the results of women's activities-- in the arts, in industry, in science, and in reform and philanthropic work. Most of these were housed in the Women's Building, which was designed, decorated, and controlled entirely by women. Weimann traces the struggles among the women for the domination of the Board of Lake Managers, describing the politics and passion for the first time.