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A fictional tale based on the true rags-to-riches story of a young Irish girl escaping the poverty of post–potato famine Ireland. Annie Elizabeth Maher ends up in the service of one of the wealthiest and most well-connected families in New York. She mixes with artists, politicians, and wealthy businesspeople and travels the world with her mistress, Georgiana. After Georgiana dies young, Annie retreats to make a new life in Long Branch, New Jersey. A successful and philanthropic female entrepreneur with a portfolio of seven properties in 1900 is a rare event, let alone a woman who has emerged from poverty in Ireland. Nonetheless she makes her mark on this seaside town and lives happily. However, she is arrested in 1924 and committed to Trenton Asylum as a lunatic. Was this a conspiracy to bring her down or an intolerance of female success? What of her time in Trenton under the now-infamous Dr. Henry Cotton? How will this megalomania in medicine impact her life?
This forward-thinking collection brings together over sixty essays that invoke images to summon, interpret, and argue with visual studies and its neighboring fields such as art history, media studies, visual anthropology, critical theory, cultural studies, and aesthetics. The product of a multi-year collaboration between graduate students from around the world, spearheaded by James Elkins, this one-of-a-kind anthology is a truly international, interdisciplinary point of entry into cutting-edge visual studies research. The book is fluid in relation to disciplines; it is frequently inventive in relation to guiding theories; it is unpredictable in its allegiance and interest in the past of the discipline--reflecting the ongoing growth of visual studies.
Film and television have never been more prevalent or watched than they are now, yet we still have little understanding of how people process and make use of what they see. And though we acknowledge the enormous role the media plays in our culture, we have only a vague sense of how it actually influences our attitudes and desires. In Perverse Spectators, Janet Staiger argues that studying the interpretive methods of spectators within their historical contexts is both possible and necessary to understand the role media plays in culture and in our personal lives. This analytical approach is applied to topics such as depictions of violence, the role of ratings codes, the horror and suspense gen...
In the glorious, boozy party after the first World War, a new being burst defiantly onto the world stage: the so-called flapper. Young, impetuous, and flirtatious, she was an alluring, controversial figure, celebrated in movies, fiction, plays, and the pages of fashion magazines. But, as this book argues, she didn’t appear out of nowhere. This spirited, beautifully illustrated history presents a fresh look at the reality of young women’s experiences in America and Britain from the 1890s to the 1920s, when the “modern” girl emerged. Linda Simon shows us how this modern girl bravely created a culture, a look, and a future of her own. Lost Girls is an illuminating history of the iconic flapper as she evolved from a problem to a temptation, and finally, in the 1920s and beyond, to an aspiration.
Throughout the twentieth century, American male soldiers returned home from wars with foreign-born wives in tow, often from allied but at times from enemy nations, resulting in a new, official category of immigrant: the “allied” war bride. These brides began to appear en masse after World War I, peaked after World War II, and persisted through the Korean and Vietnam Wars. GIs also met and married former “enemy” women under conditions of postwar occupation, although at times the US government banned such unions. In this comprehensive, complex history of war brides in 20th-century American history, Susan Zeiger uses relationships between American male soldiers and foreign women as a lens to view larger issues of sexuality, race, and gender in United States foreign relations. Entangling Alliances draws on a rich array of sources to trace how war and postwar anxieties about power and national identity have long been projected onto war brides, and how these anxieties translate into public policies, particularly immigration.
Deluged with messages that range from “It’s Ivy League or bust” to “It doesn’t matter where you go,” college applicants and their families often find themselves lost, adrift in a sea of information overload. Finally—a worthy life preserver has arrived. The Enlightened College Applicant speaks to its audience in a highly accessible, engaging, and example-filled style, giving readers the perspective and practical tools to select and earn admission at the colleges that most closely align with their academic, career, and life goals. In place of the recycled entrance statistics or anecdotal generalizations about campus life found in many guidebooks, The Enlightened College Applicant...
"It used to be," soon-to-be secretary of state Madeleine K. Albright said in 1996, "that the only way a woman could truly make her foreign policy views felt was by marrying a diplomat and then pouring tea on an offending ambassador's lap." This world of US diplomacy excluded women for a variety of misguided reasons: they would let their emotions interfere with the task of diplomacy, they were not up to the deadly risks that could arise overseas, and they would be unable to cultivate the social contacts vital to success in the field. The men of the State Department objected but had to admit women, including the first female ambassadors: Ruth Bryan Owen, Florence "Daisy" Harriman, Perle Mesta,...
During Prohibition, “Harlem was the ‘in’ place to go for music and booze,” recalled the African American chanteuse Bricktop. “Every night the limousines pulled up to the corner,” and out spilled affluent whites, looking for a good time, great jazz, and the unmatchable thrill of doing something disreputable. That is the indelible public image of slumming, but as Chad Heap reveals in this fascinating history, the reality is that slumming was far more widespread—and important—than such nostalgia-tinged recollections would lead us to believe. From its appearance as a “fashionable dissipation” centered on the immigrant and working-class districts of 1880s New York through its ...
Before movies, radio, and television challenged the hegemony of the printed word, the Saturday Evening Post was the preeminent vehicle of mass culture in the United States. And to the extent that a mass medium can be the expression of a single individual, this magazine, with a peak circulation of almost three million copies a week, was the expression of its editor, George Horace Lorimer. Cohn shows how Lorimer made the Post into a uniquely powerful magazine that both celebrated and helped form the values of the time.