Gender On Trial

Written about lawyers, but relevant to people in various professions, this book shows how individuals can act according to their personal qualities and attributes, rather than according to expectations based on gender. It prescribes several models to help firms and individuals achieve a workplace free of gender bias for both men and women.

This engaging ethnography examines the gendered nature of today's large corporate law firms. Although increasing numbers of women have become lawyers in the past decade, Jennifer Pierce discovers that the double standards and sexist attitudes of legal bureaucracies are a continuing problem for women lawyers and paralegals. Working as a paralegal, Pierce did ethnographic research in two law offices, and her depiction of the legal world is quite unlike the glamorized version seen on television. Pierce tellingly portrays the dilemma that female attorneys face: a woman using tough, aggressive tactics—the ideal combative litigator—is often regarded as brash or even obnoxious by her male colleagues. Yet any lack of toughness would mark her as ineffective. Women paralegals also face a double bind in corporate law firms. While lawyers depend on paralegals for important work, they also expect these women—for most paralegals are women—to nurture them and affirm their superior status in the office hierarchy. Paralegals who mother their bosses experience increasing personal exploitation, while those who do not face criticism and professional sanction. Male paralegals, Pierce finds, do not encounter the same difficulties that female paralegals do. Pierce argues that this gendered division of labor benefits men politically, economically, and personally. However, she finds that women lawyers and paralegals develop creative strategies for resisting and disrupting the male-dominated status quo. Her lively narrative and well-argued analysis will be welcomed by anyone interested in today's gender politics and business culture.

In 1964, Title VII of the Civil Rights Act outlawed workplace sex discrimination, but its practical meaning was uncertain. Equality on Trial examines how a generation of workers and feminists fought to infuse the law with broad notions of sex equality, reshaping workplaces, activist channels, state agencies, and courts along the way.

This book explores the prosecution of wartime sexual violence in international criminal law and asks what the juridicalisation of gender-based violence signifies for women. The book explores the portrayal of the various gendered identities that surface in armed conflict and it asks whether the law is capable of reflecting these in subsequent judgements. Focusing on the International Criminal Tribunal for the Former Yugoslavia and the International Criminal Tribunal for Rwanda as well as subsequent developments in the International Criminal Court, the book shows how the tribunals have delivered landmark jurisprudence in the area of sexual violence against women and provided a legacy for how gender justice is incorporated into international law. However, Daniela Nadj argues that in the relevant cases there is a tendency to depict women in monolithic fashion with little agency or sense of identity beyond their ethnicity. By bringing to the surface the complexity and multi-faceted gendered identities in wartime, the book calls for a reconceptualisation of notions of femininity in armed conflict.

"This study breaks new ground in comparative drama by focusing on a phenomenon that can be observed in the drama of different cultures and across a large span of time. The essays illuminate the ways in which the plays interrogate law as an institution that subordinates and controls women through the categories and relationships it constructs, as well as by means of the actions it sanctions-some of which apply to women only. In some cases the woman on trial has not committed the offense for which she is being tried; in others she has committed a serious crime, often murder. The action may hinge on determining innocence versus guilt, or the play may attempt to present innocence and guilt as qualities that are structured by culture. Many of the plays also highlight factors such as nationality, race, poverty, or working-class status, as they interact with gender to create perceptions of the woman on trial. The woman or women on trial may represent dissidents or activists in general, or they may epitomize the failure of the law to protect women from crimes, especially sexual violence, placing the victim rather than the perpetrator on trial"--from publisher's website.

Most people could probably tell you that Lizzie Borden “took an axe and gave her mother forty whacks,” but few could say that, when tried, Lizzie Borden was acquitted, and fewer still, why. In Joseph A. Conforti’s engrossing retelling, the case of Lizzie Borden, sensational in itself, also opens a window on a time and place in American history and culture. Surprising for how much it reveals about a legend so ostensibly familiar, Conforti’s account is also fascinating for what it tells us about the world that Lizzie Borden inhabited. As Conforti—himself a native of Fall River, the site of the infamous murders—introduces us to Lizzie and her father and step-mother, he shows us why who they were matters almost as much to the trial’s outcome as the actual events of August 4, 1892. Lizzie, for instance, was an unmarried woman of some privilege, a prominent religious woman who fit the profile of what some characterized as a “Protestant nun.” She was also part of a class of moneyed women emerging in the late 19th century who had the means but did not marry, choosing instead to pursue good works and at times careers in the helping professions. Many of her contemporaries, we learn, particularly those of her class, found it impossible to believe that a woman of her background could commit such a gruesome murder. As he relates the details, known and presumed, of the murder and the subsequent trial, Conforti also fills in that background. His vividly written account creates a complete picture of the Fall River of the time, as Yankee families like the Bordens, made wealthy by textile factories, began to feel the economic and cultural pressures of the teeming population of native and foreign-born who worked at the spindles and bobbins. Conforti situates Lizzie’s austere household, uneasily balanced between the well-to-do and the poor, within this social and cultural milieu—laying the groundwork for the murder and the trial, as well as the outsize reaction that reverberates to our day. As Peter C. Hoffer remarks in his preface, there are many popular and fictional accounts of this still-controversial case, “but none so readable or so well-balanced as this.”

Undoing Gender constitutes Judith Butler's recent reflections on gender and sexuality, focusing on new kinship, psychoanalysis and the incest taboo, transgender, intersex, diagnostic categories, social violence, and the tasks of social transformation. In terms that draw from feminist and queer theory, Butler considers the norms that govern--and fail to govern--gender and sexuality as they relate to the constraints on recognizable personhood. The book constitutes a reconsideration of her earlier view on gender performativity from Gender Trouble. In this work, the critique of gender norms is clearly situated within the framework of human persistence and survival. And to "do" one's gender in certain ways sometimes implies "undoing" dominant notions of personhood. She writes about the "New Gender Politics" that has emerged in recent years, a combination of movements concerned with transgender, transsexuality, intersex, and their complex relations to feminist and queer theory.

2020 ALA Alex Award Winner 2020 Stonewall — Israel Fishman Non-fiction Award Honor Book In 2014, Maia Kobabe, who uses e/em/eir pronouns, thought that a comic of reading statistics would be the last autobiographical comic e would ever write. At the time, it was the only thing e felt comfortable with strangers knowing about em. Now, Gender Queer is here. Maia’s intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma and fundamental violation of pap smears. Started as a way to explain to eir family what it means to be nonbinary and asexual, Gender Queer is more than a personal story: it is a useful and touching guide on gender identity—what it means and how to think about it—for advocates, friends, and humans everywhere. This special deluxe hardcover edition of Gender Queer features a brand-new cover, exclusive art and sketches, and a TK from creator Maia Kobabe.