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" Anna Held (1870?-1918), a petite woman with an hourglass figure, was America's most popular musical comedy star during the two decades preceding World War I. In the colorful world of New York theater during La Belle �poque, she epitomized everything that was glamorous, sophisticated, and suggestive about turn-of-the-century Broadway. Overcoming an impoverished life as an orphan to become a music-hall star in Paris, Held rocketed to fame in America. From 1896 to 1910, she starred in hit after hit and quickly replaced Lillian Russell as the darling of the theatrical world. The first wife of legendary producer Florenz Ziegfeld Jr., Held was the brains and inspiration behind his Follies and shared his knack for publicity. Together, they brought the Paris scene to New York, complete with lavish costumes and sets and a chorus of stunningly beautiful women, dubbed ""The Anna Held Girls."" While Held was known for a champagne giggle as well as for her million-dollar bank account, there was a darker side to her life. She concealed her Jewish background and her daughter from a previous marriage. She suffered through her two husbands' gambling problems and Ziegfeld's blatant affairs with showgirls. With the outbreak of fighting in Europe, Held returned to France to support the war effort. She entertained troops and delivered medical supplies, and she was once briefly captured by the German army. Anna Held and the Birth of Ziegfeld's Broadway reveals one of the most remarkable women in the history of theatrical entertainment. With access to previously unseen family records and photographs, Eve Golden has uncovered the details of an extraordinary woman in the vibrant world of 1900s New York.
The Work of Woman Suffrage
With this first scholarly biography of Anna Howard Shaw (1847-1919), Trisha Franzen sheds new light on an important woman suffrage leader who has too often been overlooked and misunderstood.An immigrant from a poor family, Shaw grew up in an economic reality that encouraged the adoption of non-traditional gender roles. Challenging traditional gender boundaries throughout her life, she put herself through college, worked as an ordained minister and a doctor, and built a tightly-knit family with her secretary and longtime companion Lucy E. Anthony.Drawing on unprecedented research, Franzen shows how these circumstances and choices both impacted Shaw's role in the woman suffrage movement and set her apart from her native-born, middle- and upper-class colleagues. Franzen also rehabilitates Shaw's years as president of the National American Woman Suffrage Association, arguing that Shaw's much-belittled tenure actually marked a renaissance of both NAWSA and the suffrage movement as a whole.
Out of the Shadows
Anna Eikenhout (1902-1986) was an honors graduate of Ohio State University, a fine-arts librarian, a skilled pianist, and an avid reader in three languages. Harlan Hubbard (1900-1988), a little-known painter and would-be shantyboater, seemed an unlikely husband, but together they lived a life out of the pages of Thoreau's Walden. Much of what is known about the Hubbards comes from Harlan's books and journals. Concerning the seasons and the landscape, his writing was rapturous, yet he was emotionally reticent when discussing human affairs in general or Anna in particular. Yet it was through her efforts that their life on the river was truly civilized. Visitors to Payne Hollow recall Anna as a generous, gracious hostess, whose intelligence and artistry made the small house seem grander than a mansion.
Anna Seward and her career defy easy placement into the traditional periods of British literature. Raised to emulate the great poets John Milton and Alexander Pope, maturing in the Age of Sensibility, and publishing during the early Romantic era, Seward exemplifies the eighteenth-century transition from classical to Romantic. Claudia Thomas Kairoff’s excellent critical study offers fresh readings of Anna Seward’s most important writings and firmly establishes the poet as a pivotal figure among late-century British writers. Reading Seward’s writing alongside recent scholarship on gendered conceptions of the poetic career, patriotism, provincial culture, sensibility, and the sonnet revival, Kairoff carefully reconsiders Seward’s poetry and critical prose. Written as it was in the last decades of the eighteenth century, Seward’s work does not comfortably fit into the dominant models of Enlightenment-era verse or the tropes that characterize Romantic poetry. Rather than seeing this as an obstacle for understanding Seward’s writing within a particular literary style, Kairoff argues that this allows readers to see in Seward’s works the eighteenth-century roots of Romantic-era poetry. Arguably the most prominent woman poet of her lifetime, Seward’s writings disappeared from popular and scholarly view shortly after her death. After nearly two hundred years of critical neglect, Seward is attracting renewed attention, and with this book Kairoff makes a strong and convincing case for including Anna Seward's remarkable literary achievements among the most important of the late eighteenth century.
Doris E. Fleischman, Ruth Hale, and Jane Grant
Anonymous in Their Own Names recounts the lives of three women who, while working as their husbands' uncredited professional partners, had a profound and enduring impact on the media in the first half of the twentieth century. With her husband, Edward L. Bernays, Doris E. Fleischman helped found and form the field of public relations. Ruth Hale helped her husband, Heywood Broun, become one of the most popular and influential newspaper columnists of the 1920s and 1930s. In 1925 Jane Grant and her husband, Harold Ross, started the New Yorker magazine.
Yet these women's achievements have been invisible to countless authors who have written about their husbands. This invisibility is especially ironic given that all three were feminists who kept their birth names when they married as a sign of their equality with their husbands, then battled the government and societal norms to retain their names. Hale and Grant so believed in this cause that in 1921 they founded the Lucy Stone League to help other women keep their names, and Grant and Fleischman revived the league in 1950. This was the same year Grant and her second husband, William Harris, founded White Flower Farm, pioneering at that time and today one of the country's most celebrated commercial nurseries.
Despite strikingly different personalities, the three women were friends and lived in overlapping, immensely stimulating New York City circles. Susan Henry explores their pivotal roles in their husbands' extraordinary success and much more, including their problematic marriages and their strategies for overcoming barriers that thwarted many of their contemporaries.
Anthropology at the Front Lines of Gender-Based Violence is a broad and accessible volume, with a truly global approach to understanding the lives of front-line workers in women's shelters, anti-violence organizations, and outreach groups. Often written from a first-person perspective, these essays examine government workers, volunteers, and nongovernmental organization employees to present a vital picture of practical approaches to combating gender-based violence.
Flamenco and the Spanish Avant Garde
Antonia Mercé, stage-named La Argentina, was the most celebrated Spanish dancer of the early 20th century. Her intensive musical and theatrical collaborations with members of the Spanish vanguard -- Manuel de Falla, Frederico García Lorca, Enrique Granados, Néstor de la Torre, Joaquín Nín, and with renowned Andalusian Gypsy dancers -- reflect her importance as an artistic symbol for contemporary Spain and its cultural history. When she died in 1936, newspapers around the world mourned the passing of the "Flamenco Pavlova."
Trauma, Authorship, and the Diaspora in Arab Women's Writings
Far from offering another study that bemoans Arab women’s repression and veiling, Anxiety of Erasure looks at Arab women writers living in the diaspora who have translated their experiences into a productive and creative force. In this book, Al-Samman articulates the therapeutic effects of revisiting forgotten histories and of activating two cultural tropes: that of the maw’udah (buried female infant) and that of Shahrazad in the process of revolutionary change. She asks what it means to develop a national, gendered consciousness from diasporic locals while staying committed to the homeland. Al-Samman presents close readings of the fiction of five prominent authors whose works span over half a century and define the current status of Arab diaspora studies—Ghada al-Samman, Hanan al-Shaykh, Hamida al-Na‘na‘, Hoda Barakat, Samar Yazbek, and Salwa al-Neimi. Exploring the journeys in time and space undertaken by these women, Anxiety of Erasure shines a light on the ways in which writers remain participants in their homelands’ intellectual lives, asserting both the traumatic and the triumphant aspects of diaspora. The result is a nuanced Arab women’s poetic that celebrates rootlessness and rootedness, autonomy and belonging.
Three Modernist Poets of the Harlem Renaissance
Aphrodite’s Daughters introduces us to Angelina Weld Grimké, Gwendolyn B. Bennett, and Mae V. Cowdery, African American poetic iconoclasts who viewed the female body as a source of strength and transcendence as they pioneered forthright modes of erotic self-expression during the Harlem Renaissance. Drawing from their published and unpublished poetry, along with rare periodicals and biographical materials, Maureen Honey immerses us in the lives of these remarkable women and the world in which they lived.