The Girl S Own Annual 1

Nineteenth-century British periodicals for girls and women offer a wealth of material to understand how girls and women fit into their social and cultural worlds, of which music making was an important part. The Girl's Own Paper, first published in 1880, stands out because of its rich musical content. Keeping practical usefulness as a research tool and as a guide to further reading in mind, Judith Barger has catalogued the musical content found in the weekly and later monthly issues during the magazine's first thirty years, in music scores, instalments of serialized fiction about musicians, music-related nonfiction, poetry with a musical title or theme, illustrations depicting music making and replies to musical correspondents. The book's introductory chapter reveals how content in The Girl's Own Paper changed over time to reflect a shift in women's music making from a female accomplishment to an increasingly professional role within the discipline, using 'the piano girl' as a case study. A comparison with musical content found in The Boy's Own Paper over the same time span offers additional insight into musical content chosen for the girls' magazine. A user's guide precedes the chronological annotated catalogue; the indexes that follow reveal the magazine's diversity of approach to the subject of music.

Containing 2,729 entries, Kevin L. Seligman’s bibliography concentrates on books, manuals, journals, and catalogs covering a wide range of sartorial approaches over nearly five hundred years. After a historical overview, Seligman approaches his subject chronologically, listing items by century through 1799, then by decade. In this section, he deals with works on flat patterning, draping, grading, and tailoring techniques as well as on such related topics as accessories, armor, civil costumes, clerical costumes, dressmakers’ systems, fur, gloves, leather, military uniforms, and undergarments. Seligman then devotes a section to those American and English journals published for the professional tailor and dressmaker. Here, too, he includes the related areas of fur and undergarments. A section devoted to journal articles features selected articles from costume- and noncostumerelated professional journals and periodicals. The author breaks these articles down into three categories: American, English, and other. Seligman then devotes separate sections to other related areas, providing alphabetical listings of books and professional journals for costume and dance, dolls, folk and national dress, footwear, millinery, and wigmaking and hair. A section devoted to commercial pattern companies, periodicals, and catalogs is followed by an appendix covering pattern companies, publishers, and publications. In addition to full bibliographic notation, Seligman provides a library call number and library location if that information is available. The majority of the listings are annotated. Each listing is coded for identification and cross-referencing. An author index, a title index, a subject index, and a chronological index will guide readers to the material they want. Seligman’s historical review of the development of publications on the sartorial arts, professional journals, and the commercial paper pattern industry puts the bibliographical material into context. An appendix provides a cross-reference guide for research on American and English pattern companies, publishers, and publications. Given the size and scope of the bibliography, there is no other reference work even remotely like it.

Gail Edwards and Judith Saltman illuminate the connection between children's publishing and Canadian nationalism, analyse the gendered history of children's librarianship, identify changes and continuities in narrative themes and artistic styles, and explore recent changes in the creation and consumption of children's illustrated books. Over 130 interviews with Canadian authors, illustrators, editors, librarians, booksellers, critics, and other contributors to Canadian children's book publishing, document the experiences of those who worked in the industry.

"Reveals ... the exquisite work and extraordinary skill of a group of New Zealand artists, most of them women, working in a wide variety of art and craft forms ... This flowering of local talent ... originated in the British Arts and Crafts movement and is associated with the growth of art education in this country: its quiet but dedicated character also suggests much about the situation of women in the years before and after 1900"--Jacket.