A prominent novelist, social activist, journalist, and nationalist, Halide Edib Adivar (1882-1964) was one of Turkey's leading feminists in the Young Turk and early Republican period. Memoirs is the first book in her two volume English-language autobiography, published in 1926, while she and her second husband Dr. Adnan were in exile in London and Paris having fallen out of favor with Mustafa Kemal's one-party regime. Edib describes her childhood, her confrontation with her first husband's polygyny, her divorce, and her entry into political and literary writing. Edib's account of her private life provides a unique example of a woman's individual and personal struggle for emancipation and gender equality.

Lady Annie Brassey (1839-1887) possess a keen eye for human interest and narrative detail that propelled her to international fame as a travel writer. This book presents a daily diary of two voyages to Constantinople aboard her family yacht in the mid 1870s. Here, the modern reader may glimpse the natural wonders, cultural distinctions, and political circumstances of such countries as Portugal, Spain, Morocco, Italy, Greece, and Turkey during that time period. Readers will also find an excellent example of the nineteenth-century European fascination with the "Orient."

Figure skating is one of the most popular spectator sports in the U.S., yet it eludes definitive categorization. In this engaging new book, Ellyn Kestnbaum examines figure skating from multiple perspectives: as sport, as performance, and even as spectacle, guiding the reader through both the technical aspects of skating and the sometimes convoluted rules of figure skating competition. By careful readings of skating events at the 1994 and 1998 Olympic Games, she argues that figure skating is a language, one whose meaning is inflected by the culture at large. In particular, she looks at the ways in which race, social class and gender all disrupt, subvert or reinforce the practices of figure skating, and examines the influence of the media in shaping perceptions of the sport. As a skater, skating fan and scholar, Kestnbaum brings a unique point of view to this study, providing not only a history of the skating world but also a feeling for what it is like to be on the ice.

The Grand Permission is a book of deeply enriching and articulate meditations on motherhood and the composition of poetry by practicing poets. The 32 contributors write with originality and commitment about the startling, intense and dynamic connections between motherhood and creative achievement-connections that shed new light on the nature of language and genre, the practical life of mothering and the writing vocation. The book combines intimacy of tone and discussion of serious personal issues in new essays written in varied and innovative forms. This wonderful book is an ideal gift for mothers of all ages and creative pursuits, and especially valuable for writers concerned about how life decisions impact artistic choices.CONTRIBUTORS: Mei-Mei Berssenbrugge, Jill Bialosky, Eavan Boland, Stephanie Brown, Norma Cole, Gillian Conoley, Toi Derricotte, Barbara Einzig, Carolyn Forché, Kathleen Fraser, Susan Gervirtz, Dale Going, Susan Griffin, Mimiko Hahn, Carla Harryman, Fanny Howe, Erica Hunt, Claudia Keelan, Maxine Kumin, Laura Moriarty, Carol Muske, Alice Notley, Alicia Ostriker, Maureen Owen, Frances Phillips, Pam Rehm, Elizabeth Robinson, Camille Roy, Mary Margaret Soan, C.D. Wright.

"Impossible Dance is a highly accessible, original and engaging account of the complex and often heavily theorized debates around the body, identity and community. Focusing on gay, lesbian and queer club culture in the 1990s New York City, this is the first book to bring together vital issues such as dance culture, queer community, sex culture, HIV identity and politics. Based on four years of field work, the book takes readers on a journey from the streets of New York City into the dance clubs and onto the dance floor. Detailed interviews with club-goers capture their perspectives on how they stage their self-fashioning through dancing. Fiona Buckland argues that such dancing embodies and rehearses a powerful political imagination, laying claim to the space and to one's body as queer."--Publishers Weekly

In 1995 and 1996 six film or television adaptations of Jane Austen's novels were produced -- an unprecedented number. More amazing, all were critical and/or box office successes. What accounts for this explosion of interest? Much of the appeal of these films lies in our nostalgic desire at the end of the millennium for an age of greater politeness and sexual reticence. Austen's ridicule of deceit and pretentiousness also appeals to our fin de siècle sensibilities. The novels were changed, however, to enhance their appeal to a wide popular audience, and the revisions reveal much about our own culture and its values. These recent productions espouse explicitly twentieth-century feminist notions and reshape the Austenian hero to make him conform to modern expectations. Linda Troost and Sayre Greenfield present fourteen essays examining the phenomenon of Jane Austen as cultural icon, providing thoughtful and sympathetic insights on the films through a variety of critical approaches. The contributors debate whether these productions enhance or undercut the subtle feminism that Austen promoted in her novels. From Persuasion to Pride and Prejudice, from the three Emmas (including Clueless ) to Sense and Sensibility, these films succeed because they flatter our intelligence and education. And they have as much to tell us about ourselves as they do about the world of Jane Austen. This second edition includes a new chapter on the recent film version of Mansfield Park.

New definitions of American femininity were formed in the pivotal 1920s, an era that vastly expanded the "market" for sexually explicit displays by women. Angela J. Latham shows how quarrels over and censorship of women's performance -- particularly in the arenas of fashion and theater -- uniquely reveal the cultural idiosyncracies of the period and provide valuable clues to the developing iconicity of the female body in its more recent historical phases. Through disguise, display, or judicious appropriation of both, performance became a crucial means by which women contested, affirmed, mitigated, and revolutionized norms of female self-presentation and self-stylization. Fashion was a hotly contested arena of bodily display. Latham surveys 1920s fashion trends and explores popular fashion rhetoric. Resistance to social mandates regarding women's fashion was nowhere more pronounced than in the matter of "bathing costumes." Latham critiques locally situated contests over swimwear, including those surrounding the first Miss America Pageant, and suggests how such performances sanctioned otherwise unacceptable self-presentations by women.Looking at American theater, Latham summarizes major arguments about censorship and the ideological assumptions embedded within them. Although sexually provocative displays by women were often the focus of censorship efforts, "leg shows," including revues like the Zeigfeld Follies, were in their heyday. Latham situates the popularity of such performances that featured women's bodies within the larger context of censorship in the American theater at this time.

Should women concern themselves with reading other than the Bible? Should women attempt to write at all? Did these activities violate the hierarchy of the universe and men's and women's places in it? Colonial American women relied on the same authorities and traditions as did colonial men, but they encountered special difficulties validating themselves in writing. William Scheick explores logonomic conflict in the works of northeastern colonial women, whose writings often register anxiety not typical of their male contemporaries. This study features the poetry of Mary English and Anne Bradstreet, the letter-journals of Esther Edwards Burr and Sarah Prince, the autobiographical prose of Elizabeth Hanson and Elizabeth Ashbridge, and the political verse of Phyllis Wheatley. These works, along with the writings of other colonial women, provide especially noteworthy instances of bifurcations emanating from American colonial women's conflicted confiscation of male authority. Scheick reveals subtle authorial uneasiness and subtextual tensions caused by the attempt to draw legitimacy from male authorities and traditions.

"Woman, both real and metaphorical, is at the center of the project to reform politics, which for Rousseau means all human relations," Nicole Fermon asserts in this finely wrought study of how Jean-Jacques Rousseau places the family, women, and love within his political philosophy. Rather than accept conventional conceptual dichotomies of "public" and "private" or "man" and "citizen," Fermon suggests that Rousseau's teachings on the family represent a connecting strand in an overarching philosophy: man not only creates institutions to satisfy his own needs, she writes, "but the needs themselves are crucially formed and transformed by the social setting and the educational experience." Thus the family in general and women in particular play a key role in the Rousseaurean project, as the household becomes "entrusted not only with the reproduction of life and daily necessities, but with the reproduction of sociality itself. "

The feminine script of early nineteenth century centered on women's role as patient, long-suffering mothers. By mid-century, however, their daughters faced a world very different in social and economic options and in the physical experiences surrounding their bodies. In this groundbreaking study, Nancy Theriot turns to social and medical history, developmental psychology, and feminist theory to explain the fundamental shift in women's concepts of femininity and gender identity during the course of the century -- from an ideal suffering womanhood to emphasis on female control of physical self. Theriot's first chapter proposes a methodological shift that expands the interdisciplinary horizons of women's history. She argues that social psychological theories, recent work in literary criticism, and new philosophical work on subjectivities can provide helpful lenses for viewing mothers and children and for connecting socioeconomic change and ideological change. She recommends that women's historians take bolder steps to historicize the female body by making use of the theoretical insights of feminist philosophers, literary critics, and anthropologists.Within this methodological perspective, Theriot reads medical texts and woman- authored advice literature and autobiographies. She relates the early nineteenth-century notion of "true womanhood" to the socioeconomic and somatic realities of middle-class women's lives, particularly to their experience of the new male obstetrics. The generation of women born early in the century, in a close mother/daughter world, taught theirdaughters the feminine script by word and action. Their daughters, however, the first generation to benefit greatly from professional medicine, had less reason than their mothers to associate womanhood with pain and suffering. The new concept of femininity they created incorporated maternal teaching but altered it to make meaningful their own very different experience.This provocative study applies interdisciplinary methodology to new and long-standing questions in women's history and invites women's historians to explore alternative explanatory frameworks.

From Gone with the Wind to Designing Women, images of southern females that emerge from fiction and film tend to obscure the diversity of American women from below the Mason-Dixon line. In a work that deftly lays bare a myriad of myths and stereotypes while presenting true stories of ambition, grit, and endurance, Margaret Ripley Wolfe offers the first professional historical synthesis of southern women's experiences across the centuries.In telling their story, she considers many ordinary lives -- those of Native-American, African-American, and white women from the Tidewater region and Appalachia to the Mississippi Delta to the Gulf Coastal Plain, women whose varied economic and social circumstances resist simple explanations. Wolfe examines critical eras, outstanding personalities and groups -- wives, mothers, pioneers, soldiers, suffragists, politicians, and civil rights activists -- and the impact of the passage of time and the pressure of historical forces on the region's females.The historical southern woman, argues Wolfe, has operated under a number of handicaps, bearing the full weight of southern history, mythology, and legend. Added to these have been the limitations of being female in a patriarchal society and the constraining images of the "southern belle" and her mentor, the "southern lady." In addition, the specter of race has haunted all southern women. Gender is a common denominator, but according to Wolfe, it does not transcend race, class, point of view, or a host of other factors.Intrigued by the imagery as well as the irony of biblical stories and southern history, Wolfe titles her work Daughters of Canaan. Canaan symbolizes promise, and for activist women in particular the South has been about promise as much as fulfillment. General readers and students of southern and women's history will be drawn to Wolfe's engrossing chronicle.

The so-called "New Woman" -- that determined and free-wheeling figure in "rational" dress, demanding education, suffrage, and a career-was a frequent target for humorists in the popular press of the late nineteenth century. She invariably stood in contrast to the "womanly woman," a traditional figure bound to domestic concerns and a stereotype away from which many women were inexorably moving.Patricia Marks's book, based on a survey of satires and caricatures drawn from British and American periodicals of the 1880s and 1890s, places the popular view of the New Woman in the context of the age and explores the ways in which humor both reflected and shaped readers' perceptions of women's changing roles. Not all commentators of the period attacked the New Woman; even conservative satirists were more concerned with poverty, prostitution, and inadequate education than with defending so-called "femininity." Yet, as the influx of women into the economic mainstream changed social patterns, the popular press responded with humor ranging from the witty to the vituperative.Many of Marks's sources have never been reprinted and exist only in unindexed periodicals. Her book thus provides a valuable resource for those studying the rise of feminism and the influence of popular culture, as well as literary historians and critics seeking to place more formal genres within a cultural framework. Historians, sociologists, and others with an interest in Victorianism will find in it much to savor.

American literature is no longer the refuge of the solitary hero. Like the society it mirrors, it is now a far richer, many-faceted explication of a complicated and diverse society -- racially, culturally, and ethnically interwoven and at the same time fractured and fractious.Ten women writing fiction in America today -- Toni Cade Bambara, Joan Didion, Louise Erdrich, Gail Godwin, Mary Gordon, Alison Lurie, Joyce Carol Oates, Jayne Anne Phillips, Susan Fromberg Schaeffer, and Mary Lee Settle -- represent that geographic, ethnic, and racial diversity that is distinctively American. Their differing perspectives on literature and the American experience have produced Erdrich's stolid North Dakota plainswomen; Didion's sun-baked dreamers and screamers; the urban ethnics -- Irish, Jewish, and black -- of Gordon, Schaeffer, and Bambara; Oates's small-town, often violent, neurotics; Lurie's intellectual sophisticates; and the southern survivors and victims, male and female, of Phillips, Settle, and Godwin.The ten original essays in this collection focus on the traditional themes of identity, memory, family, and enclosure that pervade the fiction of these writers. The fictional women who emerge here, as these critics show, are often caught in the interwoven strands of memory, perceive literal and emotional space as entrapping, find identity elusive and frustrating, and experience the interweaving of silence, solitude, and family in complex patterns.Each essay in this collection is followed by bibliographies of works by and about the writer in question that will be invaluable resources for scholars and general readers alike. Here is a readable critical discussion of ten important contemporary novelists who have broadened the pages of American literature to reflect more clearly the people we are.