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FP 24.2 Summer2004.Pdf (5.341Mb)
The Un vers ty of W scons n System Feminist Periodicals A current listing of contents WOMEN'S STUDIES Volume 24, Number 2 Summer 2004 Published by Phyllis Holman Weisbard LIBRARIAN Women's Studies Librarian Feminist Periodicals A current listing of contents Volume 24, Number 2 (Summer 2004) Periodical literature is the culling edge ofwomen'sscholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing ofContents is pUblished by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to ajournal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table ofcontents pages from current issues ofmajor feministjournals are reproduced in each issue of Feminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. Year of first pUblication. 2. Frequency of publication. 3. U.S. subscription price(s). 4. SUbscription address. 5. Current editor. 6. -
Gary Wright's New Album Disappoints Gary Wright/Extraction A&M Records SP4277 BARRY WHITNEY Better
April 16, 1971 Page 5 JESSICA ZUEHLKE Fine Arts Editor MUSICAL MADMAN couldn't help it with an exciting personality like On Monday, April 7, Don Ellis and his 20- Don Ellis for a leader. Let's get them to Concordia. piece band appeared at Bemidji State College. * The audience was more than receptive to this DIRT BAND RETURNS rock-jazz outfit which has been making it big Most of you are aware that the Nitty Gritty since the 1967 Monterey Jazz Festival. Dirt Band will be back for another concert, April The band performs what might be called acid 28. Just recently released by the Dirt Band is or psychedelic jazz. They play exciting concerto- "House at Pooh Corner." Along with the NGDB like things in a dizzying number of different will be Brewer and Shipley. The light, country- meters: 9/4, 11/4, 9/8. Don said, "It's difficult for folk music of this duo is their selling point. High- the band to play in 4/4. So we play in 5/4 and re- lights from their latest album are: "One Toke member to leave off the last beat." The instru- Over the Line," "The Light," "Oh, Mommy," and mentation of this group is rather unique: a string "Seems Like a Long Time." quartet, trumpets, french horn, trombone, bass, * saxes, flutes, electric piano, bass guitar, conga, Beginning next Tuesday evening will be a drummer, and percussionist. series of one-act plays as part of the Fine Arts The most talented member of the group is week. -
PRESS and FESTIVAL INQUIRIES: [email protected]
FOR DISTRIBUTION, PRESS AND FESTIVAL INQUIRIES: [email protected] Promo photos available here NAUGHTY BOOKS A Documentary by Austen Eleanore Rachlis Sex sells…until it doesn’t Naughty Books is a feature-length documentary about the boom of self-published romance novels in the wake of Fifty Shades of Grey. It follows three authors who became millionaires in under a year using pen names to sell erotica online for $1.99. Along the way, they upended the book industry, challenged ideas of female sexuality, and re-imagined the American Dream for the 21st century. *** In 2011, British television producer E.L. James published the erotic novel Fifty Shades of Grey. It became a cultural phenomenon, selling 100 million copies worldwide and taking erotica mainstream. Once a genre consumed in secret, explicit romances were now being read on the subway, by the pool, and on the treadmill. As it turned out, women weren’t only reading erotica in large numbers; they were also writing it. Thanks to Amazon’s Kindle store, which allowed writers to upload directly to the marketplace, women were able to publish independently, bypassing traditional gatekeepers like agents and editors. Readers were hungry for books like Fifty Shades, but the major publishers responded slowly. Self-published authors filled the void, flooding the market with $1.99 books about innocent women and bad-boy billionaires falling in love and having steamy sex. Readers devoured them. The authors became a force, challenging conventional feminist ideas and disrupting publishing. Naughty Books follows three writers who experienced overnight success, gaining tens of thousands of fans and securing lucrative deals with major publishers. -
1+1 National Library
National Library Bibliothèque nationale 1+1 of Canada du Canada Acquis:tions and Direction des acquisitions et Bibliographic services Branch des services bibliographiques 395 Welhnglon Sueet 395. rue Welllnglon OUawa. Onlario On:lwa (Onlario) K'AON4 K1AON4 NOTICE AVIS The quality of this microform is La qualité de cette microforme heavily dependent upon the dépend grandement de la qualité quality of the original thesis de la thèse soumise au submitted for microfilming. microfilmage. Nous avons tout Every effort has been made to fait pour assurer une qualité ensure the highest quality of supérieure de reproduction. reproduction possible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the communiquer avec· l'université degree. qui a conféré le grade. Sorne pages may have indistinct La qualité d'impression de print especial1y if the original certaines pages peut laisser à pages were typed with a poor désirer, surtout si les pages typewriter ribbon or if the originales ont été university sent us an inferior dactylographiées à l'aide d'un photocopy. ruban usé ou si l'université nous a fait parvenir une photocopie de qualité inférieure. Reproduction in ful1 or in part of La reproduction, même partiel1e, this microform is governed by de cette microforme est soumise the Canadian Copyright Act, à la Loi canadienne sur le droit R.S.C. 1970, c. C-30, and d'auteur, SRC 1970, c. C-30, et subsequent amendments. ses amendements subséquents. " Canada • Qf Shadowboxinq and Straw-Women: Postfeminist Texts and Contexts Aurora wallace Graduate Program in Communications McGill university Montréal, Québec August, 1994 A Thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Master of Arts. -
2. Informed: “I Don't Know. I Gotta Get the Best One”
Reading the Comments • Reading the Comments 2. Informed: “I Don’t Know. I Gotta Get the Best One” Joseph Reagle Published on: Apr 08, 2019 License: Creative Commons Attribution 4.0 International License (CC-BY 4.0) Reading the Comments • Reading the Comments 2. Informed: “I Don’t Know. I Gotta Get the Best One” Being a consumer is like a job. You have to make sure you get the best one. If you get a Blu-ray player, you gotta do research.… You gotta go on Amazon and read a really long review written by an insane person who’s been dead for months … because he shot his wife and then himself after explaining to you that the remote is counter-intuitive. “It’s got really small buttons on the remote,” he said … before he murder-suicided his whole family. And now you’re reading it and going, “I don’t know. I don’t know which one to get, I don’t know. I gotta get the best one.” Who are you, the King of Siam, that you should get the best one ever? Who cares? They’re all the same, these machines. They’re all made from the same Asian suffering. There’s no difference. —Louis C.K., “Late Show: Part 1,” Louie, season 3, episode 10, August 30, 2012 Despite the name, Boston’s Micro Center isn’t small—nor is it in Boston. It is, instead, an electronics supermarket on the Cambridge shore of the Charles River. It attracts customers from all over eastern Massachusetts, but I live a few minutes away. -
CNHI Woodstock 20190814
A half-century later, the mother of all music festivals still resonates ifty years after the fact, it still resonates with us. Tucked up in the Catskill Mountains, the Woodstock Music & Art Fair — promoted as “An Aquarian Exposition, Three Days of Peace and Music,” but known to one and all as simply Woodstock — took place in 1969 over three-plus days. From Friday, Aug. 15, through the morning of Monday, Aug. 18, dairy farmer Max Yasgur’s 600- acre parcel of land in Bethel, New York — forever immortalized in Joni Mitchell’s “Woodstock” (ironically, she wasn’t at the event itself) — became the epicenter of the music and cultural universe, a haven for 400,000-plus hippies, bohemians, music lovers and mem- bers of the counterculture. It began when folkie Richie Havens began strumming his gui- tar, kicking off the festival with Paul Gerry/Bethel Woods Collection “From the Prison.” Thirty-two more acts, about 66 hours and several rainstorms later, it ended when guitar god Jimi Hendrix capped off a stellar set with his rendition of “Hey Joe.” Thousands of cars were left stranded for miles and miles en route to the venue as concertgo- ers walked to their destination. Tickets for the festival were $18, but many attendees got in for free when the crowd more than tripled what organizers had anticipated. Dallas Taylor, the drummer for supergroup Crosby, Stills, Nash & Young (playing just its second-ever show), asked the helicopter pilot James Sarles/Bethel Woods Collection James Sarles/Bethel Woods Collection flying him to the event what body of More than 400,000 people descended on a dairy farm in Bethel, N.Y., for the concert held 50 years ago. -
Sisters at Odds
REVIEW Sisters at odds DIANA SCHAUB hadUST itsas Jacobinsthe movement, so too forthe"Libertyfeminist, Equality,movement, Fraternity"with its parallel call for women's liberation, the equality of the sexes, and politically conceived sisterhood. According to Christina Hoff Sommers, it is the final term of the triad that has in- spired dangerous radicalism in the feminist camp and led to something on the order of feminism's own Reign of Terror. Liberty and equality, yes--those are the hallmarks of what Sommers terms "equity" or "First Wave" feminism: "the tradi- tional, classically liberal, humanistic feminism that was initi- ated more than 150 years ago." Original feminism demanded and won fundamental political rights for women and opened up educational and economic opportunity. Sommers considers herself and most Americans to be feminists of this sort--heirs to the Enlightenment and its principles of individual justice. Her quarrel is with the "Second Wave" or "gender" feminists who have abandoned universalism for gynocentrism and traded enfranchisement for seemingly permanent victim status. Soli- darity with women has come to mean hostility to men, and particularly to that alleged system of male dominance: the "heteropatriarchy." Who Stole Feminism? How Women Have Betrayed Women _ is an attempt to reclaim feminism from these female Jacobins (prominent among them, Catherine MacKinnon, Naomi Wolf, Andrea Dworkin, Alison Jaggar, Susan Faludi, and Catherine Stimpson). In her Girondist dissent, Sommers joins a growing number of women, from Katie Roiphe to Camille Paglia, trying to wrest power from the radical Montagnards. Sommers claims that "misandrism [man-hating] ... was not a notable feature of the women's movement until our own times"; indeed, she finds that "the idea that women are in a gender _Simon and Schuster. -
Place and Persona in the Essays of Joan Didion And
CALIFORNIA DREAMING: PLACE AND PERSONA IN THE ESSAYS OF JOAN DIDION AND EVE BABITZ Claire Elizabeth Christoff Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University December 2019 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________ Robert Rebein, MFA, PhD, Chair ______________________________ Karen Kovacik, PhD ______________________________ Kyle Minor, MFA ii ACKNOWLEDGMENTS Firstly, thank you to Dr. Robert Rebein, without whom this project would not have been possible. I am grateful not just for your time, patience, and thoughtful honesty, but for teaching me, way back in the fall of 2015, about the boundless possibilities of creative nonfiction. Thanks to Dr. Karen Kovacik for the invaluable guidance, patience, editorial help, and psychic hand-holding—I will forever want to be you when I grow up. Last but not least, thanks to Kyle Minor for all the advice and all the crazy ideas. I am totally indebted to each of you for your mentorship and support over the years. Thank you also to Dan Wakefield for the stories, the pep talks, so many cups of coffee, and the idea for the title of this thesis. iii Claire Elizabeth Christoff CALIFORNIA DREAMING: PLACE AND PERSONA IN THE ESSAYS OF JOAN DIDION AND EVE BABITZ Joan Didion, a native of Sacramento, California, is the author of many acclaimed collections of journalism and memoir, the first of which were Slouching Towards Bethlehem (1968) and The White Album (1979). -
The Grizzly, February 2, 1979 Jack Hauler Ursinus College
Ursinus College Digital Commons @ Ursinus College Ursinus College Grizzly Newspaper Newspapers 2-2-1979 The Grizzly, February 2, 1979 Jack Hauler Ursinus College Carol J. Kennedy Ursinus College David McPhillips Ursinus College Ruth R. Harris Ursinus College Rick Morris Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/grizzlynews Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Hauler, Jack; Kennedy, Carol J.; McPhillips, David; Harris, Ruth R.; Morris, Rick; Lazar, Joey; Woodland, Mark; Dougherty, Raymond; O'Neill, John; Armbrust, Lori; Plunkett, Jeffrey; Aaronson, Gary; and McSharry, Kathy, "The Grizzly, February 2, 1979" (1979). Ursinus College Grizzly Newspaper. 12. https://digitalcommons.ursinus.edu/grizzlynews/12 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus College Grizzly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Jack Hauler, Carol J. Kennedy, David McPhillips, Ruth R. Harris, Rick Morris, Joey Lazar, Mark Woodland, Raymond Dougherty, John O'Neill, Lori Armbrust, Jeffrey Plunkett, Gary Aaronson, and Kathy McSharry This book is available at Digital Commons @ Ursinus College: https://digitalcommons.ursinus.edu/grizzlynews/12 , VOLUME 1, NO. 12 URSINUS COLLEGE, COLLEGEVILLE, PA. 19426 FRIDAY, FEBRUARY 2, 1979 Frat Beating Draws · Administrat-ve F-re An incident that occurred near campus . -
Diss Title Page
Touch Me, I’m Sick: Hysterical Intimacies | Sick Theories by Margeaux Feldman A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of English University of Toronto © Copyright by Margeaux Feldman 2021 ! Touch Me, I’m Sick: Hysterical Intimacies | Sick Theories Margeaux Feldman Doctorate of Philosophy Department of English University of Toronto 2021 Abstract This dissertation develops what I call a “sick theories” approach to the long history of labeling girls, women, and femmes – and their desires – as hysterical, sick, pathological, and in need of a cure. My approach builds on the insight that repressed trauma can lead to chronic illness, which was discovered in the early twentieth century with the emergence of the figure of the hysteric: a girl or woman experiencing inexplicable symptoms, from a persistent cough to full body seizures. Drawing on recent work in trauma studies, I offer a new lens to disability studies by reclaiming the figure of the hysteric, who has been largely neglected in this field. By examining a range of literary and cultural texts, I trace new connections between those who are living with trauma, chronic illness, and pathologized desire, and develop a language for imagining new forms of community and care, which I call “hysterical intimacies.” Each chapter builds on my sick theories approach, outlined in Chapter One, to analyze a different sick girl. Chapter Two looks at Jesmyn Ward’s novel Salvage the Bones to challenge the state’s narrative that the pregnant Black teen is part of an epidemic and reveal new dimensions of state sponsored anti-Black violence. -
Redefining Female Success and Empowerment in a Post-Feminist Landscape
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Fall 2013 The Personal, Political, and the Virtual? Redefining emaleF Success and Empowerment in a Post-feminist Landscape Linda Elizabeth Chardon University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Business and Corporate Communications Commons, Communication Technology and New Media Commons, Film and Media Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Mass Communication Commons, Social Media Commons, and the Women's Studies Commons Recommended Citation Chardon, Linda Elizabeth, "The Personal, Political, and the Virtual? Redefining emaleF Success and Empowerment in a Post-feminist Landscape" (2013). Honors Theses and Capstones. 202. https://scholars.unh.edu/honors/202 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Linda Chardon The Personal, Political and the Virtual? Redefining Female Success and Empowerment in a Post-feminist Landscape Choice. Consumerism. Success. These are what define modern women’s liberation. This is the feminism of today. It is broken. The private and professional spheres are so immeasurably separated that women are left empty and unsatisfied. They don’t understand. They feel that women have progressed and moved forward, but the modern woman doesn’t see why progress doesn’t feel more progressive. -
Chapter One INTRODUCTION
Chapter One INTRODUCTION A TWENTY-THREE-YEAR OLD, unemployed single mother in West Virginia became pregnant as a result ofdate rape. Due to recent cuts in federal funding, “Meg” had trouble locating an abortion clinic but finally found one four hours away in Charleston. She was told that she was 17 weeks pregnant, and that the clinic performed abortions only up to 16 weeks, so she was referred to a clinic in Cincinnati which would perform an abortion up to 19 1/2 weeks for a cost of $850. When she went there 1 1/2 weeks later, however, she was told that she was actually 21 weeks pregnant and referred to a clinic in Dayton that would perform the abor- tion for $1,675. She refinanced her car, sold her VCR, borrowed money, and went to Dayton. There she learned that she was a high-risk patient because ofan earlier cesarean delivery and would thereforehave to go to Wichita, where the procedure would cost $2,500. “I just didn’t think I could manage that,” she says. “Now that I know I have to have it, I’m trying to get used to the idea....I’mnotthinking about adoption, be- cause I’ve never understood people having a baby just to give it away. So I’ve been thinking a lot about trying to love this baby the way I love my daughter.”1 Can we say that this woman has freely chosen her role as mother? Susan is beaten by her husband and is admitted to a hospital.