A Magazine Of Her Own

Like the corset, the women's magazines which emerged in the nineteenth century produced a `natural' idea of femininity: the domestic wife; the fashionable woman; the romancing and desirable girl. Their legacy, from agony aunts to fashion plates, are easily traced in their modern counterparts. But do these magazines and their promises empower or disempower their readers? A Magazine of Her Own? is a lively and revealing exploration of this immensely popular form from its beginnings. In fascinating detail Margaret Beetham investigates the desires, images and interpretations of femininity posed by a medium whose readership was and still is almost exclusively female. A Magazine of Her Own is at once a chronological tracing of the history, a collection of intriguing case studies and an intervention into recent debates about gender and sexuality in popular reading. It is a book which anyone who is interested in the unique, influential world of the woman's magazine - students, scholars and general readers alike - will want to read

Like the corset, the women's magazines which emerged in the nineteenth century produced a `natural' idea of femininity: the domestic wife; the fashionable woman; the romancing and desirable girl. Their legacy, from agony aunts to fashion plates, are easily traced in their modern counterparts. But do these magazines and their promises empower or disempower their readers? A Magazine of Her Own? is a lively and revealing exploration of this immensely popular form from its beginnings. In fascinating detail Margaret Beetham investigates the desires, images and interpretations of femininity posed by a medium whose readership was and still is almost exclusively female. A Magazine of Her Own is at once a chronological tracing of the history, a collection of intriguing case studies and an intervention into recent debates about gender and sexuality in popular reading. It is a book which anyone who is interested in the unique, influential world of the woman's magazine - students, scholars and general readers alike - will want to read

Many extraordinary female scientists, doctors, and engineers tasted independence and responsibility for the first time during the First World War. How did this happen? Patricia Fara reveals how suffragists, such as Virginia Woolf's sister, Ray Strachey, had already aligned themselves with scientific and technological progress, and that during the dark years of war they mobilized women to enter conventionally male domains such as science and medicine. Fara tells the stories of women such as: mental health pioneer Isabel Emslie, chemist Martha Whiteley, a co-inventor of tear gas, and botanist Helen Gwynne Vaughan. Women were now carrying out vital research in many aspects of science, but could it last? Though suffragist Millicent Fawcett declared triumphantly that 'the war revolutionised the industrial position of women. It found them serfs, and left them free', the outcome was very different. Although women had helped the country to victory and won the vote for those over thirty, they had lost the battle for equality. Men returning from the Front reclaimed their jobs, and conventional hierarchies were re-established even though the nation now knew that women were fully capable of performing work traditionally reserved for men. Fara examines how the bravery of these pioneer women scientists, temporarily allowed into a closed world before the door clanged shut again, paved the way for today's women scientists. Yet, inherited prejudices continue to limit women's scientific opportunities.

Williams provides a dynamic step-by-step guide to creating everything from tourism books and niche market magazines to specialty tabloids, using your home computer.

Amanda Hardy is the new girl at school. Like everyone else, all she wants is to make friends and fit in. But Amanda is holding back. Even from Grant, the guy she's falling in love with. Amanda has a secret. At her old school, she used to be called Andrew. And secrets always have a way of getting out... A book about loving yourself and being loved for who you really are.

The Last Word investigates the debased art of eulogy. Through insightful, surprisingly playful readings of famous eulogies (from a scene in Love Actually to Jacques Derrida’s heart-rending essays on the deaths of his peers), Cooper argues against the socially sanctioned desire to avoid thinking about death that results in clichéd memorials, honoring neither the living nor the dead.

The National Book Critics Circle Award–winning author delivers a collection of essays that serve as the perfect “antidote to mansplaining” (The Stranger). In her comic, scathing essay “Men Explain Things to Me,” Rebecca Solnit took on what often goes wrong in conversations between men and women. She wrote about men who wrongly assume they know things and wrongly assume women don’t, about why this arises, and how this aspect of the gender wars works, airing some of her own hilariously awful encounters. She ends on a serious note— because the ultimate problem is the silencing of women who have something to say, including those saying things like, “He’s trying to kill me!” This book features that now-classic essay with six perfect complements, including an examination of the great feminist writer Virginia Woolf’s embrace of mystery, of not knowing, of doubt and ambiguity, a highly original inquiry into marriage equality, and a terrifying survey of the scope of contemporary violence against women. “In this series of personal but unsentimental essays, Solnit gives succinct shorthand to a familiar female experience that before had gone unarticulated, perhaps even unrecognized.” —The New York Times “Essential feminist reading.” —The New Republic “This slim book hums with power and wit.” —Boston Globe “Solnit tackles big themes of gender and power in these accessible essays. Honest and full of wit, this is an integral read that furthers the conversation on feminism and contemporary society.” —San Francisco Chronicle “Essential.” —Marketplace “Feminist, frequently funny, unflinchingly honest and often scathing in its conclusions.” —Salon