Books: 'Depiction of women'

1

Gathercole, Patricia May. The depiction of women in medieval French manuscript illumination. Lewiston, NY: Edwin Mellen Press, 2000.

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2

Barlow, Julie Virginia. The depiction of women in the art of Frederick Sandys. Birmingham: University of Birmingham, 1989.

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3

Wieland, Amelie Christiana. Developments of androgynous depiction of men following women in fashion advertising. London: LCP, 2002.

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4

Explaining the depiction of violence against women in victorian literature: Applying Julia Kristeva's theory of abjection to Dickens, Brontë, and Braddon. Lewiston, N.Y: Edwin Mellen Press, 2006.

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5

The Depiction and Description of the Female Body in Nineteenth- Century French Art, Literature, and Society: Women in the Parks of Paris, 1848-1900. Lewiston, NY: The Edwin Mellen Press, 2011.

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Aʻz̤am, Anītā. Da Puṣhto pah afsānwī adab kṣhe da ṣhaże ūlasī maqām aw kirdār: Depiction of women in modern Pashto fiction : da Pī. Ech. Ḍī maqālah. Peṣhawar: Yūnīwarsiṭī Buk Ejansī, 2010.

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7

Spaull, Susan. Depictions of women and madness in women's writing. Birmingham: University of Birmingham, 1986.

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8

Moran, Arik. Kingship and Polity on the Himalayan Borderland. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462985605.

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Kingship and Polity on the Himalayan Borderland explores the modern transformation of state and society in the Indian Himalaya. Centred on three Rajput led-kingdoms during the transition to British rule (c. 1790-1840) and their interconnected histories, it demonstrates how border making practices engendered a modern reading of ‘tradition’ that informs communal identities to this day. Countering the common depiction of these states as all-male, caste-exclusive entities, it reveals the strong familial base of Rajput polity, wherein women — and regent queens in particular — played a key role alongside numerous non-Rajput groups. Drawing on rich archival records, rarely examined local histories, and nearly two decades of ethnographic research, it offers an alternative to the popular and scholarly discourses that developed with the rise of colonial knowledge. The analysis exposes the cardinal contribution of borderland spaces to the fabrication of group identities. This book will interest historians and anthropologists of South Asia and of the Himalaya, as well as scholars working on postcolonialism, gender, and historiography.

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9

Media depictions of brides, wives, and mothers. Lanham, Md: Lexington Books, 2012.

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10

Social and cultural depictions of India, c. 1700-1850: The memsahibs' narrations. Delhi: Swati Publications, 2013.

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11

Examining the use of safety, confrontation, and ambivalence in six depictions of reproductive women on the American stage, 1997-2007: Staging 'the place' of abortion. Lewiston: Edwin Mellen Press, 2010.

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12

Weiser, Jessica L. Ruling relations and representation: The Toronto star's depiction of NAC, 1983-1997. 1998.

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13

Hadaller, David Lawrence. The land of the female dead: The depiction of women in the novels of William Styron. 1993.

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14

Tuckett, Christopher. Women in the Gospels of Mark and Mary. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814801.003.0008.

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While the Gospels of Mark and Mary are very different and neither gospel makes the role of women the prime focus of attention, the prominence of female characters is striking in both. This chapter explores how, despite their great differences, the two texts show a remarkable similarity in their depiction of Jesus’ women followers. In both, women take on crucial roles at the conclusion of Jesus’ earthly career. Although the original ending of Mark may suggest that the women disciples failed to communicate the message entrusted to them at the, this impression is countered by the later Markan endings and by most other post-Markan retellings of the tomb story. In the Gospel of Mary, Peter and Andrew’s attack on Mary is countered by Levi’s defence of her as a uniquely privileged disciple. Both Mark and the Gospel of Mary use women figures to present a message of discipleship.

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15

Where Are the Sunflowers?: A Media Celebrity's Depiction of Her Tragic Encounters with Anti-Korean and Anti-Buraku Prejudice in Japan. MerwinAsia, 2012.

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16

Where Are the Sunflowers?: A Media Celebrity's Depiction of Her Tragic Encounters with Anti-Korean and Anti-Buraku Prejudice in Japan. MerwinAsia, 2012.

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17

Rabinowitz, Stanley J., ed. And Then Came Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943363.001.0001.

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Here for the first time in English are freshly translated essays on famous women in the arts, in contemporary Russian life, and especially in the world of classical dance written by Russia’s foremost ballet critic of his day, Akim Volynsky (1861–1926). Volynsky’s depiction of the body beautiful onstage at St. Petersburg’s storied Maryinsky Theater is preceded by his earlier writings on women in Leonardo da Vinci, Dostoevsky, and Otto Weininger, and on such illustrious female personalities as Zinaida Gippius, Liubov Gurevich, Ida Rubinstein, and Lou Andreas-Salome. Volynsky was a man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation, which crossed over into the personal and libidinal. His career looks ahead to another Petersburg-bred “high priest” of classical dance, George Balanchine; indeed, with their undeniable proclivity toward ballet’s female component, Volynsky’s dance writings, illuminated here by examples of his earlier “gendered” criticism, invite speculation on how truly groundbreaking and forward-looking this understudied critic is.

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18

Kitchen, John. The image of sanctity and the depiction of holy women in the prose biographies of venantius fortunatus, the Liber vitae patrum of Gregory of Tours and the Vita sanctae Radegundis of Baudonivia: A comparative study. 1995.

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19

Kitchen, John. The image of sanctity and the depiction of holy women in the prose biographies of Venantius Fortunatus, the Liber Vitae Patrium of Gregory of Tours and ... of Baudonivia: A comparative study. UMI Dissertation Services, 1995.

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20

van Es, Bart. Introduction. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723356.003.0001.

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What is a Shakespearean comedy? Nearly half of Shakespeare’s plays could be described as comedies of some kind, but more restrictive criteria would whittle the number to just half a dozen true, festive Shakespearean comedies. The ‘Introduction’ describes how Shakespeare’s writing would have been influenced by the vibrant culture of commercial public theatre that he encountered in London, which drew on two traditions: the classical tradition of the grammar schools and the less structured jesting and clowning that grew from the morality play. Changes to Shakespeare’s plays after his death in three areas—the depiction of women; the treatment of politics; and the variation of theatrical design—are also considered.

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21

al-Ghadeer, Moneera. Saudi Arabia. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.26.

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This chapter discusses the development of the novel genre in Saudi Arabia. The early novels in Saudi Arabia were not considered a form of entertainment and had limited readership because, until recently, poetry was the dominant genre. The development of the novel was slow in the period 1930–1959, and novels tended to focus on cultural and social reform, varying from skepticism about external influences to a more balanced staging of dialogue with the Other. This chapter examines the Saudi novel’s movement toward new modes of innovation and modernism during the period 1959–1970, and 1980–2012, women’s literature and the depiction of women in the Saudi novel, and the contribution of women writers in the efflorescence of the genre. It also considers novels that challenge ethos of concealment, leading to negative aesthetics in the new millennium.

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22

Defoe, Daniel. Moll Flanders. Edited by G. A. Starr and Linda Bree. Oxford University Press, 2011. http://dx.doi.org/10.1093/owc/9780192805355.001.0001.

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‘Twelve Year a Whore, fives times a Wife (whereof once to her own Brother), Twelve Year a Thief, Eight Year a Transported Felon in Virginia, at last grew Rich, liv'd Honest, and died a Penitent’: so the title page of this extraordinary novel describes the career of the woman known as Moll Flanders, whose real name we never discover. And so, in a tour-de-force of writing by the businessman, political satirist, and spy Daniel Defoe, Moll tells her own story, a vivid and racy tale of a woman's experience in the seamy side of life in late seventeenth- and early eighteenth-century England and America. Born in Newgate prison, and seduced in the home of her adoptive family, she learns to live off her wits, defying the traditional depiction of women as helpless victims. First published in 1722, and one of the earliest novels in the English language, its account of opportunism, endurance, and survival speaks as strongly to us today as it did to its original readers.

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23

African American Women Depictions in Television Docusoaps: A New Form of Representation or Depictions as Usual? Lang AG International Academic Publishers, Peter, 2015.

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24

Smail Salhi, Zahia. Occidentalism. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9780748645800.001.0001.

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The prime objective of this book is to underpin the Maghrebi encounter with the Occident, which evolved from fascination (Occidentophilia), to Ambivalence, to rejection of the Occident (Occidentophobia) through a process of decolonization. It sheds light on many neglected areas in the study of Maghrebi literature and culture by rehabilitating and reintegrating the pre-1945 novels, hitherto shunned as politically decadent, into the history and the study of Maghrebi literature. It deconstructs this endangered literary corpus with depth, and situates it with other works produced concomitantly in the form of manifestos and letters addressed to the Occident. These works represent the voices of the pre-1945 elite who expressed their fascination of occidental culture with a plea to the Occident to extend its civilization to all factions of the colonized society. The book traces literary depictions of Algerian converts to Christianity; a community obliterated by mainstream discourse of nationalism. The book unearths their voices and gives explanation to their anguishes, and dilemmas as exemplified in the work of the Amrouche family of authors. It also delves into Imperial Feminism and the writings of French feminists on their mission to save native Maghrebi women. To complete the circle the book examines the birth of Algerian feminism and its depiction through literature, of the native women’s encounter with the Occident as advocated in the work of Djamila Débêche. The book concludes by analysing the reasons behind the failure of the East –West encounter as the end of a chimera.

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25

Wilson Kimber, Marian. Reading the Fairies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0003.

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Between 1850 and 1920, readings of Shakespeare’s A Midsummer Night’s Dream by women took place in conjunction with concerts of Felix Mendelssohn’s incidental music, popularized by actress Fanny Kemble. The practice responsed to criticism of the physicality of theatrical stagings and the ability of Mendelssohn’s music to depict extramusical content. Female elocutionists were considered ideal performers due to the depiction of fairies as female and in order to render Shakespeare’s pure poetry stripped of theatrical excess. The combination of Shakespeare and Mendelssohn represented the highest level of elocutionary art. In reading A Midsummer Night’s Dream, elocutionists became more voice than body, and the fairy elements were transmitted through Mendelssohn’s magical music, mediating the problem of the female body displayed on the stage.

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26

Burnette, Rahoi-Gilch, Sheryl L. Cunningham, and Deneen Gilmour. Media Depictions of Brides, Wives, and Mothers. Lexington Books/Fortress Academic, 2014.

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27

1954-, Adams Katherine H., ed. Controlling representations: Depictions of women in a mainstream newspaper, 1900-1950. Cresskill, N.J: Hampton Press, 2009.

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28

Shepherd-Barr, Kirsten E. Against Interpretation? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190467876.003.0009.

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This chapter reads Hedda Gabler as self-conscious actor and director of her own drama. It builds on the groundbreaking work of Gay Gibson Cima on Elizabeth Robins’s depiction of Hedda in 1891. Cima traced Robins’s development of an “autistic gesture” in acting the role of Hedda, whereby she would pause and gaze directly out at the audience. This created a tension between private mental state and public action, which in turn was part of a wider movement by actresses like Eleonora Duse and Janet Achurch to carve out a specific interior female space on stage through their gestures, expressions, and readings of roles. At the same time as Ibsen’s plays were premiering, suffrage theatre was beginning to highlight the related theme of how women were always performing a role and following a script someone else had written. Hedda is perhaps Ibsen’s strongest representation of women’s self-suppression and adoption of another’s identity.

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29

González-López, Irene, and Michael Smith, eds. Tanaka Kinuyo. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409698.001.0001.

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This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.

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30

Women Labor Activists In The Movies Nine Depictions Of Workplace Organizers 19542005. McFarland & Company, 2010.

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31

Eliot, George, and Josie Billington. Scenes of Clerical Life. Edited by Thomas A. Noble. Oxford University Press, 2015. http://dx.doi.org/10.1093/owc/9780199689606.001.0001.

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The only true knowledge of our fellow-man is that which enables us to feel with him.' George Eliot's first published work consisted of three short novellas: 'The Sad Fortunes of the Reverend Amos Barton', 'Mr Gilfil's Love-Story', and 'Janet's Repentance'. Their depiction of the lives of ordinary men and women in a provincial Midlands town initiated a new era of nineteenth-century literary realism. The tales concern rural members of the clergy and the gossip and factions that a small town generates around them. Amos Barton only realizes how much he depends upon his wife's selfless love when she dies prematurely; Mr Gilfil's devotion to a girl who loves another is only fleetingly rewarded; and Janet Dempster suffers years of domestic abuse before the influence of an Evangelical minister turns her life around. These stories are remarkable for the tenderness with which Eliot portrays a bygone time of religious belief in a newly secular age, giving literary fiction an alternative language to religion and philosophy for the observation and understanding of human experience.

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32

Martin, Daniel. The Enduring Cult of The Bride with White Hair: Chivalry and the Monstrous Other in the Hong Kong Fantasy-Horror. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0005.

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The Bride with White Hair (Ronny Yu, 1993) tells the tale of a heroic swordsman’s ill-fated love affair with a woman transformed by hatred into a white-haired killer, elevated the figure of the frosty-follicled executioner into one of the most enduring icons of the Hong Kong horror film. The timelessness and mysticism of the story lends itself to a highly hybridized type of horror, offering wuxia (swordplay), magical fantasy, romance and erotic scintillation alongside bloody fights, savage violence, and a monstrous depiction of malevolent conjoined twins. This chapter examines this film as emblematic of a particular cultural moment in the development of the Hong Kong fantasy-horror, appealing to a global fanbase for its supposedly transgressive and erotic content, and analyses the film in terms of its generic hybridity, its depictions of disability and morality, as well as in the context of the international marketing and reception of cult Hong Kong horror of the 1990s.

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33

Gilbert-Santamaria, Donald. The Poetics of Friendship in Early Modern Spain. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458047.001.0001.

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This book posits the Aristotelian-Ciceronian notion of perfect male friendship as an independent poetic force within the development of Spanish literature in the sixteenth and early seventeenth centuries. Through a re-examination of Spanish critic Juan Bautista Avalle-Arce’s notion of the “tale of two friends” tradition, the book shows how the poetics of friendship evolves in relation to other key concepts from the period—most notably exemplarity and imitatio—in a series of carefully selected examples from several important genres including the pastoral novel, the picaresque, and the Spanish comedia. Particular attention is given to the trajectory whereby the highly formalized narrativization of the traditional Aristotelian paradigm for friendship gives way to representations of personal intimacy grounded in a recognition of the idiosyncratic particularity of human experience in the world beyond the text. This alternative modality for representing friendship, which encompasses a variety of relationships beyond the Aristotelian paradigm—between women, erstwhile lovers, and pícaros, to take just three examples—reaches its fullest expression in the depiction of the evolving intimacy that grows up between the two unlikely companions, Don Quixote and Sancho Panza, whose shared experiences provide the main focus for Cervantes’s most important work.

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34

Brontë, Charlotte, and Juliette Atkinson. Jane Eyre. Edited by Margaret Smith. Oxford University Press, 2019. http://dx.doi.org/10.1093/owc/9780198804970.001.0001.

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Gentle reader, may you never feel what I then felt!’ Throughout the hardships of her childhood - spent with a severe aunt and abusive cousin, and later at the austere Lowood charity school - Jane Eyre clings to a sense of self-worth, despite of her treatment from those close to her. At the age of eighteen, sick of her narrow existence, she seeks work as a governess. The monotony of Jane’s new life at Thornfield Hall is broken up by the arrival of her peculiar and changeful employer, Mr Rochester. Routine at the mansion is further disrupted by mysterious incidents that draw the pair closer together but which, once explained, threaten Jane’s happiness and integrity. A flagship of Victorian fiction, Jane Eyre draws the reader in by the vigour of Jane’s voice and the novel’s forceful depiction of childhood injustice, of the restraints placed upon women, and the complexities of both faith and passion. The emotional charge of Jane’s story is as strong today as it was more than 150 years ago, as she seeks dignity and freedom on her own terms. In this new edition, Juliette Atkinson explores the power of narrative voice and looks at the striking physicality of the novel, which is both shocking and romantic.

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35

Bell, Erin. Stock Characters with Stiff-Brimmed Bonnets. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814221.003.0006.

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This chapter examines continuity and change in representations of women Friends by non-Quakers in the first 150 years of Quakerism’s existence. Unsurprisingly, given their active role, including the unusual position of female travelling preachers, a large amount of attention, often negative, was paid to Quaker women by male non-Quakers. Analysis of such depictions reveals that stereotyping of female Friends served a number of different ends: it sought to titillate non-Quaker men with depictions of young Quaker women, and to reinforce non-Quaker men’s self-appointed role as moral guardians with religious, moral, and gendered superiority over Quaker women. The chapter considers how such responses were likely driven by anxious hegemonic masculinity, identified by several scholars as central to mainstream male identity, which led Quaker women to initially be viewed as a potent threat and later as stock figures, created to belittle female Friends’ growing moral and political influence.

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36

Black Women in Reality Television Docusoaps: A New Form of Representation or Depictions as Usual? Lang Publishing, Incorporated, Peter, 2015.

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37

Waymer, Damion, and Adria Y. Goldman. Black Women in Reality Television Docusoaps: A New Form of Representation or Depictions As Usual? Lang AG International Academic Publishers, Peter, 2014.

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38

Shively, Michael D. Self-reported sexual aggression and exposure to sexually explicit depictions. 1986.

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39

DiSavino, Elizabeth. Katherine Jackson French. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.001.0001.

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A native of London, Kentucky, Dr. Katherine Jackson French (Ph.D. Columbia University, 1906) collected over sixty British Isle ballads in the hills of Kentucky in 1909 and attempted to publish them in 1910 with the help of Berea College, an endeavor that never came to pass due to an intriguing tangle of motives, gender biases, wavering support from her hoped-for patron, and ruthlessness on the part of fellow collectors. (Her ballad collection, “English-Scottish Ballads from the Hills of Kentucky,” sees publication here at last and comprises the last section of the book.) An unwitting participant in the Ballad Wars of the early 20^th Century, French went on to a full professorship at Centenary College in Shreveport, Louisiana, where she was also the co-founder of the Woman’s Department Club and President of the UUAW. This book sets the story of Jackson’s life against the backdrop of the social upheaval of the early 20^th century, highlights Jackson’s focus on women as ballad keepers, discusses the long-lasting Anglo-only depiction of Appalachia, and reimagines what effect publication of her collection in 1910 (seven years before Olive Dame Campbell and Cecil Sharp’s landmark English Folk Songs from the Southern Appalachians) might have had upon our first and lasting view of Appalachian balladry.

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40

Depicting the veil: Transnational sexism and the war on terror. Zed Books, 2013.

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41

García Bachmann, Mercedes L. A Foolish King, Women, and Wine. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722618.003.0018.

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Proverbs 31:1–9 is a mother’s teaching to her son, King Lemuel, on administration of one’s life (what and whom not to spend one’s strength on), on royal justice (it is not for kings to drink, lest they forget righteousness), and on strong drink for those who need to forget. Studies deal generally with the issue of wine or justice, leaving out vs. 1–3, her first words. A feminist study looks at the dynamics of female wisdom, evident in Lemuel’s Mother, but also at matters of gender solidarity. The mother’s warning against female recipients of the kingly issue (wealth, vigour) has a double effect: it works to alert young people on the importance of right and wrong decisions for those involved including the subject of those decisions), but it also alerts us against stereotyped, biased depictions of women by women.

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42

Powers, Melinda. Representing ‘Woman’ in Split Britches’ Honey I’m Home, the F-RTC’s Oedipus Rex XX/XY, and Douglas Carter Beane and Lewis Flynn’s Lysistrata Jones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777359.003.0004.

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This chapter uses case studies from both comedy and tragedy, including Split Britches’ Honey I’m Home: The Alcestis Story (1989), the Faux-Real Theatre Company’s Oedipus Rex XX/XY (2012), and Douglas Carter Beane and Lewis Flynn’s Lysistrata Jones (2011), to explore the extent to which costuming and casting choices may reinforce or challenge the male-invented, male-performed idea of ‘Woman’ performed on the ancient stage. It argues that the employment of women actors in a play written by and for men does not preclude a feminist critique, for Split Britches’ and Faux-Real’s performances have used feminist performance techniques and cross-gendered casting to challenge the gender binary of male/female. However, in some cases, such as Lysistrata Jones, reperforming Greek drama may inadvertently result in the reinforcement of negative depictions of women and essentialist ideas that attach sex (the physical body) to gender (the cultural performance of that body).

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43

Ibrahim, Celene. Women and Gender in the Qur'an. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190063818.001.0001.

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Hundreds of Qur’anic verses pertain to women and girl figures. These figures play pivotal roles in Islamic sacred history, and the Qur’an celebrates the aptitudes of many such figures in the realms of spirituality, politics, and family. Some women are political adversaries of prophets or use their agency in morally corrupt ways; however, the Qur’an presents many more examples of pious women and girls, including those who birth, protect, guide, and inspire prophets. This book outlines how female figures—old, young, barren, fertile, chaste, profligate, saintly, and reproachable—enter Islamic sacred history and advance the Qur’an’s overarching didactic aims. The analysis considers all the major and minor female figures referenced in the Qur’an, including those who appear in narratives of sacred history, in parables, in verses that allude to events contemporaneous with the Qur’an, and in descriptions of the eternal abode. Female personalities appear in the Qur’anic accounts of human origins, in stories of the founding and destruction of nations, and in narratives of conquest, filial devotion, romantic attraction, and more. This work gives attention to these wide-ranging depictions and to themes related to sexual relations, kinship relations, divine-human relationships, female embodiment, and women’s social roles. Analysis focuses on lexical features of the Qur’an, intra-textual resonances, and thematic juxtapositions. The book explores Qur’anic dictates involving gender relations and highlights female spiritual competencies.

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44

Faxneld, Per. Becoming the Demon Woman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664473.003.0009.

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Chapter9 analyses individuals who, both on and off the stage, actively assumed the role of the demon woman. Three persons are considered in detail: Sarah Bernhardt, the Italian marchioness Luisa Casati, and silent film actress Theda Bara. They chose—or, in Bara’s case, were chosen—to embody the (more or less supernatural or occult) femme fatale, as constructed mostly by male authors and artists. Seemingly, they felt this was empowering or useful for commercial, subversive, or other purposes. The analysis attempts to tease out some of the implications this enactment of a disquieting stereotype had on an individual level as well as in a broader cultural context. This also applies to the unknown women who wore jewellery depicting devils, demons, or Eve—a rebellious token clearly drawing on motifs familiar from Satanic feminism.

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45

Moore, George. Esther Waters. Edited by Stephen Regan. Oxford University Press, 2012. http://dx.doi.org/10.1093/owc/9780199583010.001.0001.

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I daresay I shall get through my trouble somehow.’ Esther Waters is a young, working-class woman with strong religious beliefs who takes a position as a kitchen-maid at a horse-racing estate. She is seduced and abandoned, and forced to support herself and her illegitimate child in any way that she can. The novel depicts with extraordinary candour Esther's struggles against prejudice and injustice, and the growth of her character as she determines to protect her son. Her moving story is set against the backdrop of a world of horse racing, betting, and public houses, whose vivid depiction led James Joyce to call Esther Waters ‘the best novel of modern English life’. Controversial and influential on its first appearance in 1894, the book opened up a new direction for the English realist tradition. Unflinching in its depiction of the dark and sordid side of Victorian culture, it remains one of the great novels of London life and labour in the 1890s.

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46

Robinson, Terry F. Eighteenth-Century Connoisseurship and the Female Body. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.139.

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With the development of connoisseurship in eighteenth-century England came new scrutiny of the female body. This article examines the contemporary intersection between aesthetic appreciation and the act of viewing the female form. Drawing upon recent scholarship, it charts a history of “body connoisseurship” from the Society of Dilettanti, to London’s Theatres Royal, to the Royal Academy of Arts, and reveals how the focus on the female physique—as an object of beauty, sex, ownership, and exchange—was shaped not only by men but also by women who exerted increasing control over their own representational narratives. More fundamentally, it places women at the center of connoisseurial debates in the period, contending that depictions of women’s bodies within connoisseurial contexts function at once as emblems of knowledge, both aesthetic and concupiscent, and as emblems that ironize and destabilize such knowledge by cultivating a fiction of the profound unknowability of women—and thus of beauty itself.

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Counihan, Carole. Gendering Food. Edited by Jeffrey M. Pilcher. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199729937.013.0006.

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One of the central questions in feminism is whether gender matters. In the case of food activism, gender is also a controversial issue. In particular, one may ask how foodways—the beliefs and behaviors surrounding food production, distribution, and consumption—constrain and empower men and women to become political actors, or how gender power and identity are enacted in food activism. In this article, the author reviews the literature on food and gender and examines how gender can enlighten the study of food activism. She draws on her own ethnographic research on food, culture, and gender in Sardinia and Florence in Italy, and in Pennsylvania and Colorado in the United States. Using a food-centered life history methodology, the author has investigated people's depictions of the role of food in their lives. Her findings show that women use food as a medium to talk about their experiences, their cultures, and their beliefs. Thus, food allows the public to become aware of lives that would otherwise go unnoticed—the lives of ordinary women.

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Gaskell, Elizabeth. Ruth. Edited by Tim Dolin. Oxford University Press, 2011. http://dx.doi.org/10.1093/owc/9780199581955.001.0001.

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‘I think I must be an improper woman without knowing it, I do so manage to shock people.’ Elizabeth Gaskell's second novel challenged contemporary social attitudes by taking as its heroine a fallen woman. Ruth Hilton is an orphan and an overworked seamstress, an innocent preyed upon by a weak, wealthy seducer. When he heartlessly abandons her she finds shelter and kindness in the home of a dissenting minister and his sister, who do not reject her when she gives birth to an illegitimate child. But Ruth's self-sacrificing love and devotion are tested to the limit by a twist of fate that brings her past back to haunt her. Gaskell's depiction of Ruth lays bare Victorian hypocrisy and sexual double-standards, and her novel is a remarkable story of love, of the sanctuary and tyranny of the family, and of the consequences of lies and deception.

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Amussen, Susan D. Cuckold’s Haven. Edited by Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.30.

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This chapter uses the cuckold, the man whose wife is unfaithful, to explore connections between gender and the important theme of inversion in early modern popular culture. The cuckold reminds us that the social challenge of inversion was as much the result of the failure of superiors to govern properly as the misbehaviour of women and other subordinates. By examining popular practice in skimmingtons, libels, and insults, symbolic expressions of cuckoldry such as horns, and depictions of cuckolds in popular literary culture, including jestbooks proverbs, ballads, and theatre, this essay shows how cuckold humour was used to contain anxieties about disorder in early modern society. It also explores how inverted gender relationships were connected by early modern imaginations to political abuses and conflicts.

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Nathanson, Elizabeth. Sweet Sisterhood. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039577.003.0014.

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This chapter accounts for the “cupcake craze” by analyzing the distinctly feminized pleasures the confections signify in the postfeminist cultural context. Feminist media scholars have critiqued postfeminist popular culture for producing hegemonic representations that depoliticize feminist ideals. While cupcakes may indeed reify postfeminist ideologies, the chapter argues that they also point toward resistant pleasures; cupcakes invite cultural consumers to take pleasure in depictions of sisterhood that challenge neoliberal individuality by celebrating bonds between women and the liberating potential of difference. By tracing popular representations of cupcakes as items of consumption and production, this chapter finds moments in which viewers are invited to take pleasure in sweet indulgences and feminine friendships that reproduce but also expose the cracks in contemporary gender politics.

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Books on the topic 'Depiction of women'

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