Femininity In Flight

'Femininity in Flight' considers flight attendants as cultural icons, looking at how attendants redeployed the 'glamourization' used to sell air travel to campaign for professional respect, higher wages, and women's rights.

"A lively, unexpected portrait of the jet-age stewardesses serving on iconic Pan Am airways between 1966 and 1975"--

Women run wind tunnel experiments, direct air traffic, and fabricate airplanes. American women have been involved with flight from the beginning, but until 1940, most people believed women could not fly, that Amelia Earhart was an exception to the rule. World War II changed everything. "It is on the record thatwomen can fly as well as men," stated General Henry H. Arnold, commanding general of the Army Air Forces. The question became "Should women fly?" Deborah G. Douglas tells the story of this ongoing debate and its impact on American history. From Jackie Cochran, whose perseverance led to the formation of the Women's Army Service Pilots (WASP) during World War II to the recent achievements of Jeannie Flynn, the Air Force's first woman fighter pilot and Eileen Collins, NASA's first woman shuttle commander, Douglas introduces a host of determined women who overcame prejudice and became military fliers, airline pilots, and air and space engineers. Not forgotten are stories of flight attendants, air traffic controllers, and mechanics. American Women and Flight since 1940 is a revised and expanded edition of a Smithsonian National Air and Space Museum reference work. Long considered the single best reference work in the field, this new edition contains extensive new illustrations and a comprehensive bibliography.

Presents portraits and biographies of thirty-six women aviators and astronauts

From the beautiful apsaras of Hindu myth to the swan maidens of European fairy tales, stories of flying women-some carried by wings, others by clouds, rainbows, floating scarves, and flying horses-reveal the perennial fascination with and ambivalence about female power and sexuality. In Women Who Fly, Serinity Young examines the motif of the flying woman as it appears in a wide variety of cultures and historical periods, in legends, myths, rituals, sacred narratives, and artistic productions. She considers supernatural women like the Valkyries of Norse legend, who transport men to immortality; winged deities like the Greek goddesses Iris and Nike; figures of terror like the Furies, witches, and succubi; airborne Christian mystics; and wayward, dangerous women like Lilith and Morgan le Fay. Looking beyond the supernatural, Young examines the modern mythology surrounding twentieth-century female aviators like Amelia Earhart and Hanna Reitsch. Throughout, Young demonstrates that female power has always been inextricably linked with female sexuality and that the desire to control it is a pervasive theme in these stories. This is vividly depicted, for example, in the twelfth-century Niebelungenlied, in which the proud warrior-queen Brünnhilde loses her great physical strength when she is tricked into surrendering her virginity. Even in the twentieth-century the same idea is reflected in the exploits of the comic book and film character Wonder Woman who, Young suggests, retains her physical strength only because her love for fellow aviator Steve Trevor goes unrequited. The first book to systematically chronicle the figure of the flying woman in myth, literature, art, and pop culture, Women Who Fly offers a fresh look at the ways in which women have both influenced and been understood by society and religious traditions throughout the ages and around the world.

Profiles the lives and careers of twenty-six women who were pioneers in the field of aviation.

In Dreams of Flight, Fran Martin explores how young Chinese women negotiate competing pressures on their identity while studying abroad. On one hand, unmarried middle-class women in the single-child generations are encouraged to develop themselves as professional human capital through international education, molding themselves into independent, cosmopolitan, career-oriented individuals. On the other, strong neotraditionalist state, social, and familial pressures of the post-Mao era push them back toward marriage and family by age thirty. Martin examines these women’s motivations for studying in Australia and traces their embodied and emotional experiences of urban life, social media worlds, work in low-skilled and professional jobs, romantic relationships, religion, Chinese patriotism, and changed self-understanding after study abroad. Martin illustrates how emerging forms of gender, class, and mobility fundamentally transform the basis of identity for a whole generation of Chinese women.