Staging Women's Lives in Academia demonstrates how ostensibly personal decisions are shaped by institutions and advocates for ways that workplaces, not women, must be changed. Addressing life stages ranging from graduate school through retirement, these essays represent a gamut of institutions and women who draw upon both personal experience and scholarly expertise. The contributors contemplate the slipperiness of the very categories we construct to explain the stages of life and ask key questions, such as what does it mean to be a graduate student at fifty? Or a full professor at thirty-five? The book explores the ways women in all stages of academia feel that they are always too young or too old, too attentive to work or too overly focused on family. By including the voices of those who leave, as well as those who stay, this collection signals the need to rebuild the house of academia so that women can have not only classrooms of their own but also lives of their own.

Co-published by: Centre for Reformation and Renaissance Studies.

Christopher Hopkins first became known as “The Makeover Guy” during his two appearances in Oprah’s over-50 makeover shows. Since then, he has dedicated his talents and passion for fashion, makeup, and hair care to this booming audience of women. In Staging Your Comeback, Hopkins champions women over 45, teaching them how to command attention by looking and feeling great. With compassion and brutal honesty, Hopkins tackles and rectifies problems that women face as they age. Hopkins’s simple tips and tricks help women create their own self-expression and turnaround common mistakes they make in fashion and hair and skin care. Some topics include: Gray or nay? Your ideal hair color Working with over-40 skin Discover your image profile Second-act ground rules Your ideal silhouette When symmetry goes south Myths and misconceptions Long hair in act two: Does it work? Managing curl What you need to know about undergarments Fads, trends, and classics

The American Joint Committee on Cancer's Cancer Staging Manual is used by physicians throughout the world to diagnose cancer and determine the extent to which cancer has progressed. All of the TNM staging information included in this Sixth Edition is uniform between the AJCC (American Joint Committee on Cancer) and the UICC (International Union Against Cancer). In addition to the information found in the Handbook, the Manual provides standardized data forms for each anatomic site, which can be utilized as permanent patient records, enabling clinicians and cancer research scientists to maintain consistency in evaluating the efficacy of diagnosis and treatment. The CD-ROM packaged with each Manual contains printable copies of each of the book’s 45 Staging Forms.

Drawn from ten different Indian languages, this collection of eighteen plays by women constitutes a significant intervention of gender in the discourse of Indian theatre. Each play, in its own way, engages with social issues from a woman's perspective.

While great strides have been made in documenting discrimination against women in America, our awareness of discrimination is due in large part to the efforts of a feminist movement dominated by middle-class white women, and is skewed to their experiences. Yet discrimination against racial ethnic women is in fact dramatically different--more complex and more widespread--and without a window into the lives of racial ethnic women our understanding of the full extent of discrimination against all women in America will be woefully inadequate. Now, in this illuminating volume, Karen Anderson offers the first book to examine the lives of women in the three main ethnic groups in the United States--Native American, Mexican American, and African American women--revealing the many ways in which these groups have suffered oppression, and the profound effects it has had on their lives. Here is a thought-provoking examination of the history of racial ethnic women, one which provides not only insight into their lives, but also a broader perception of the history, politics, and culture of the United States. For instance, Anderson examines the clash between Native American tribes and the U.S. government (particularly in the plains and in the West) and shows how the forced acculturation of Indian women caused the abandonment of traditional cultural values and roles (in many tribes, women held positions of power which they had to relinquish), subordination to and economic dependence on their husbands, and the loss of meaningful authority over their children. Ultimately, Indian women were forced into the labor market, the extended family was destroyed, and tribes were dispersed from the reservation and into the mainstream--all of which dramatically altered the woman's place in white society and within their own tribes. The book examines Mexican-American women, revealing that since U.S. job recruiters in Mexico have historically focused mostly on low-wage male workers, Mexicans have constituted a disproportionate number of the illegals entering the states, placing them in a highly vulnerable position. And even though Mexican-American women have in many instances achieved a measure of economic success, in their families they are still subject to constraints on their social and political autonomy at the hands of their husbands. And finally, Anderson cites a wealth of evidence to demonstrate that, in the years since World War II, African-American women have experienced dramatic changes in their social positions and political roles, and that the migration to large urban areas in the North simply heightened the conflict between homemaker and breadwinner already thrust upon them. Changing Woman provides the first history of women within each racial ethnic group, tracing the meager progress they have made right up to the present. Indeed, Anderson concludes that while white middle-class women have made strides toward liberation from male domination, women of color have not yet found, in feminism, any political remedy to their problems.

Displacing Female Bodies on the Eighteenth-Century Stage is driven by a central question: why were women playwrights in the Romantic period obsessed with silencing their female characters, pushing them off the stage, and announcing the removal of their own texts to the closet? These playwrights were some of the most well-known and commercially successful writers of their era, but were paradoxically also among its most marginalized figures: they were mocked by largely conservative audiences, suffered intense criticism for placing their works on display before the public eye, and frequently found their plays rejected by theater managers in favor of works by established male playwrights. This book argues that these writers did not simply craft plays that would please the crowd, but that they deftly incorporated the suppressions and subjugations to which they were subject into their works. It demonstrates that within their plays, gaps in discourse and representation contain a productive capacity, denoting spaces of imaginative potential or drawing into focus the conditions by which such silencing and erasure takes place, and argues that the long-standing critical misapprehension of these works stems from precisely these strategies of resistance, which of necessity took non-traditional forms and thus have not been readily recognizable to audiences, then or now.

This book is based on the RCOG Study Group findings on reproductive ageing.

What can reading for the gender of signature tell us about the act of reading as a poetics and politics? In Subject to Change Miller demonstrates the textual effects of female authorship in the production, reception, and circulation of women's writing. In the wake of Roland Barthes's famously Dead Author, Miller argues for the cultural vitality of feminist writing subjects.