Pola Woman

Untamed Shrews traces the evolution of unruly women in Chinese literature, from the reviled "shrew" to the celebrated "new woman." Notorious for her violence, jealousy, and promiscuity, the character of the shrew personified the threat of unruly femininity to the Confucian social order and served as a justification for punishing any woman exhibiting these qualities. In this book, Shu Yang connects these shrewish qualities to symbols of female empowerment in modern China. Rather than meeting her demise, the shrew persisted, and her negative qualities became the basis for many forms of the new woman, ranging from the early Republican suffragettes and Chinese Noras, to the Communist and socialist radicals. Criticism of the shrew endured, but her vicious, sexualized, and transgressive nature became a source of pride, placing her among the ranks of liberated female models. Untamed Shrews shows that whether male writers and the state hate, fear, or love them, there will always be a place for the vitality of unruly women. Unlike in imperial times, the shrew in modern China stayed untamed as an inspiration for the new woman.

In the seventeenth century, Catalina de Erauso, at age sixteen a renegade Basque nun, escaped from her convent and traveled to the New World, eventually reaching Peru. She became an outlaw and a crossdresser with a price on her head. Yet she ended her days absolved by both the King of Spain and the Pope, the latter of whom granted her permission to dress as a man for the remainder of her life. The Nun Ensign passed her final years guarding silver shipments on the Mexico City-Veracruz highway. The life of the Nun Ensign highlights not just her extraordinary life but also the opportunities seized by women in colonial Latin America. This book profiles the Nun Ensign and nine other women of colonial Latin America, offering an alternate method for understanding the region and its history. The ten figures span different ethnic, geographic, occupational, and class backgrounds. Through their stories, the reader comes away with an enriched understanding of colonial Latin American history.

" Sánchez Korrol considers the shifts in women's roles between the 1880s and 1930s and accompanying societal transformations.

Through a study of the church of Santa Prassede, Mary M. Schaefer offers a compelling examination of the ''golden ages'' for women active in ecclesial ministries, critically measuring feminist claims and providing evidence contrary to the official Roman position that women have never been ordained in the Catholic Church. The ninth-century church of Santa Prassede has been studied intensively in recent years, yet no scholar has yet recognized the significance of the balanced male and female imagery: both men and women disciples, Peter and Paul as family friends, Praxedes and her sister as house church leaders in the post-apostolic period assisted by bishop Pius I, and Pope Paschal's mother Theodora episcopa, for example. Praxedes' identification as ''presbytera'' by a Roman priest-historian in 1655 and by the Benedictine prior of the church in 1725 prompts analysis of women's ordination rites in churches of East and West. Santa Prassede preserves one of the largest intact programs of church decoration in Rome up to 1200. Schaefer investigates its scriptural and liturgical sources, and, in turn, reexamines its foundation myth. With the story of the church, Schaefer provides a detailed study of women in pastoral office (especially diaconas, presbyteras, and episcopal abbesses) from the first through twelfth centuries in the West. Women in Pastoral Office also shows how the liturgy as well as the vita of Praxedes and her sister Pudentiana (whose fourth century church is located down the hill) shaped this outstanding commission of the builder, Pope Paschal I (817-824).

For centuries, Japanese culture, including ideals of feminine beauty, was profoundly shaped by China. In this first full comparative history on the subject, Cho Kyo explores changing standards of beauty in China and Japan, ranging from plumpness to bound feet to blackened teeth. Drawing on a rich array of sources gathered over a decade of research, he considers which Chinese representations were rejected or accepted and transformed in Japan. He then traces the introduction of Western aesthetics into Japan starting in the Meiji era, leading to slowly developing but radical changes in the repres.