Empfehlungen basierend auf "To Believe in Women"

Named a Most Anticipated Book of 2023 by the New York Times, The Week, Vulture, Elle, and The MillionsA piercing blend of memoir, criticism, and biography examining how women writers across the centuries carved out intellectual freedom for themselves—and how others might do the sameI took off my wedding ring for the last time—a gold band with half a line of “Morning Song” by Sylvia Plath etched inside—and for weeks afterwards, my thumb would involuntarily reach across my palm for the warm bright circle that had gone. I didn’t fling the ring into the long grass, like women do in the movies, but a feeling began bubbling up nevertheless, from my stomach to my throat: it could fling my arms out. I was free. . . .A few years into her marriage and feeling societal pressure to surrender to domesticity, Joanna Biggs found herself longing for a different kind of existence. Was this all there was? She divorced without knowing what would come next.Newly untethered, Joanna returned to the free-spirited writers of her youth and was soon reading in a fever—desperately searching for evidence of lives that looked more like her own, for the messiness and freedom, for a possible blueprint for intellectual fulfillment.In A Life of One’s Own, Mary Wollstonecraft, George Eliot, Zora Neale Hurston, Virginia Woolf, Simone de Beauvoir, Sylvia Plath, Toni Morrison, and Elena Ferrante are all taken down from their pedestals, their work and lives seen in a new light. Joanna wanted to learn more about the conditions these women needed to write their best work, and how they addressed the questions she herself was struggling with: Is domesticity a trap? Is life worth living if you have lost faith in the traditional goals of a woman? Why is it so important for women to read one another?This is a radical and intimate examination of the unconventional paths these women took—their pursuits and achievements but also their disappointments and hardships. And in exploring the things that gave their lives the most meaning, we find fuel for our own singular intellectual paths.

Nineteen Arab women journalists speak out about what it’s like to report on their changing homelands in this first-of-its-kind essay collection, with a foreword by CNN chief international correspondent Christiane Amanpour “A stirring, provocative and well-made new anthology . . . that rewrites the hoary rules of the foreign correspondent playbook, deactivating the old clichés.” —Dwight Garner, The New York Times A growing number of intrepid Arab and Middle Eastern sahafiyat—female journalists—are working tirelessly to shape nuanced narratives about their changing homelands, often risking their lives on the front lines of war. From sexual harassment on the streets of Cairo to the difficulty of traveling without a male relative in Yemen, their challenges are unique—as are their advantages, such as being able to speak candidly with other women at a Syrian medical clinic or with men on Whatsapp who will go on to become ISIS fighters, rebels, or pro-regime soldiers.  In Our Women on the Ground, nineteen of these women tell us, in their own words, about what it’s like to report on conflicts that (quite literally) hit close to home. Their daring and heartfelt stories, told here for the first time, shatter stereotypes about the region’s women and provide an urgently needed perspective on a part of the world that is frequently misunderstood. INCLUDING ESSAYS BY: Donna Abu-Nasr, Aida Alami, Hannah Allam, Jane Arraf, Lina Attalah, Nada Bakri, Shamael Elnoor, Zaina Erhaim, Asmaa al-Ghoul, Hind Hassan, Eman Helal, Zeina Karam, Roula Khalaf, Nour Malas, Hwaida Saad, Amira Al-Sharif, Heba Shibani, Lina Sinjab, and Natacha Yazbeck

The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory―published together with author Linda Nochlin’s reflections three decades later.Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art.With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew.In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.” 13 black-and-white illustrations

Feminism is the insight that sexism exists, and the struggle against that oppression. The Penguin Book of Feminist Writing is a global anthology of feminist writers, edited and introduced with a major new essay by Hannah Dawson.Beginning in the fifteenth century with Christine de Pizan, who imagined a City of Ladies that would serve as a refuge from the harassment of men, the book reaches around the earth and through the years to us, now, splashing about in the fourth wave. It goes beyond the usual white, western story, encompassing also race, class, capitalism, imperialism, and other axes of oppression that intersect with patriarchy. Alongside Elizabeth Cady Stanton, who declared in Seneca Falls in 1848 the self-evident truth 'that all men and women are created equal', we find Sojourner Truth, born into slavery in New York in 1797, who asked 'and ain't I a woman?' Drawing on poems, novels and memoirs, as well as roaring manifestos, The Penguin Book of Feminist Writing parts the clouds on a constellation of feminist classics.

A source of endless fascination and speculation, the subject of countless biographies, novels, and films, Elizabeth I is now considered from a thrilling new angle by the brilliant young historian Tracy Borman. So often viewed in her relationships with men, the Virgin Queen is portrayed here as the product of women—the mother she lost so tragically, the female subjects who worshipped her, and the peers and intimates who loved, raised, challenged, and sometimes opposed her.In vivid detail, Borman presents Elizabeth’s bewitching mother, Anne Boleyn, eager to nurture her new child, only to see her taken away and her own life destroyed by damning allegations—which taught Elizabeth never to mix politics and love. Kat Astley, the governess who attended and taught Elizabeth for almost thirty years, invited disaster by encouraging her charge into a dangerous liaison after Henry VIII’s death. Mary Tudor—“Bloody Mary”—envied her younger sister’s popularity and threatened to destroy her altogether. And animosity drove Elizabeth and her cousin Mary Queen of Scots into an intense thirty-year rivalry that could end only in death.Elizabeth’s Women contains more than an indelible cast of characters. It is an unprecedented account of how the public posture of femininity figured into the English court, the meaning of costume and display, the power of fecundity and flirtation, and how Elizabeth herself—long viewed as the embodiment of feminism—shared popular views of female inferiority and scorned and schemed against her underlings’ marriages and pregnancies.Brilliantly researched and elegantly written, Elizabeth’s Women is a unique take on history’s most captivating queen and the dazzling court that surrounded her.

What if some of the most phenomenal lives in human history were, for centuries, forgotten? For centuries, the achievements of countless influential women have remained overshadowed. Sisters Katie Nelson and Olivia Meikle traverse hundreds of years and six continents, from antiquity to modern times, to turn the spotlight on these unsung heroines, revealing their stories and celebrating their indelible impact on the world.This mesmerizing compendium highlights the captivating stories of eighty women, including Fatima al-Fihri, the visionary behind the world’s first university; Ching Shih, the most successful pirate; and Huda Sha’arawi, a leading Egyptian suffragist. What’s Her Name is a compelling tribute to the indomitable spirit and contributions of these women who have shaped history—and deserve to be remembered and commemorated.

Based on the popular TEDx talk and the New York Times best-selling book, Chimamanda Ngozi Adichie’s guided journal contains her most inspiring quotes, writing prompts, and an exclusive introductory essay. This beautifully illustrated hardcover journal is destined to empower and challenge, and help readers discover their own feminist journeys.“Feminism for me has been about unlearning and learning. About daring—to want, to take, to be. About choosing to live with the belief that I fully matter. It is a process, a lifelong journey.” —Chimamanda Ngozi AdichieNow, in this beautiful journal, Adichie’s most inspirational words encourage you to find your own voice, to reflect on what feminism means to you, and to tell your own story. Featuring:A series of guided writing prompts Powerful and inspiring quotes Important events in the history of feminism Gorgeous illustrationsHer award-winning novels, including Half of a Yellow Sun and Americanah; her stirring calls to arms We Should All Be Feminists and Dear Ijeawele; her collaboration with Beyoncé; sharing the stage with Michelle Obama—each of these accomplishments has contributed to best-selling author and global feminist icon Chimamanda Ngozi Adichie becoming one of the most important feminist figures of our time. We Should All Be Feminists: A Guided Journal promises to give readers the tools to both understand feminism and help them succeed at becoming better, more confident writers and communicators. The perfect gift for everyone—including yourself!

A captivating blend of reportage and personal narrative that explores the untold history of women’s exercise culture--from jogging and Jazzercise to Jane Fonda--and how women have parlayed physical strength into other forms of power.For American women today, working out is as accepted as it is expected, fueling a multibillion-dollar fitness industrial complex. But it wasn’t always this way. For much of the twentieth century, sweating was considered unladylike and girls grew up believing physical exertion would cause their uterus to literally fall out. It was only in the sixties that, thanks to a few forward-thinking fitness pioneers, women began to move en masse.In Let's Get Physical, journalist Danielle Friedman reveals the fascinating hidden history of contemporary women’s fitness culture, chronicling in vivid, cinematic prose how exercise evolved from a beauty tool pitched almost exclusively as a way to “reduce” into one millions have harnessed as a path to mental, emotional, and physical well-being.Let’s Get Physical reclaims these forgotten origin stories—and shines a spotlight on the trailblazers who led the way. Each chapter uncovers the birth of a fitness movement that laid the foundation for working out today: the radical post-war pitch for women to break a sweat in their living rooms, the invention of barre in the “Swinging Sixties,” the promise of jogging as liberation in the seventies, the meteoric rise of aerobics and weight-training in the eighties, the explosion of yoga in the nineties, and the ongoing push for a more socially inclusive fitness culture—one that celebrates every body.Ultimately, it tells the story of how women discovered the joy of physical strength and competence—and how, by moving together to transform fitness from a privilege into a right, we can create a more powerful sisterhood.

Blending the journalistic rigor of Masha Gessen with the call to action of We Should All Be Feminists, a searing denunciation of Putin’s Russia, revealing how modern Russia’s history of weaponizing sexual violence against women plays a crucial role in its strategy to retain political influence and dominanceOn March 22, 2023, the Swedish Academy organized a conference on threats to freedom of expression and democracy, featuring a roster of stellar speakers, including Arundhati Roy, Timothy Snyder, and Sofi Oksanen. Oksanen’s address—“Putin's War on Women”—generated such interest that the acclaimed Finnish writer used it as the basis for a larger, in-depth look at Putin’s threat to women. The result is Same River, Twice, a devastating expose that builds on the themes and arguments introduced in Oksanen’s urgent and incisive speech.During the Soviet occupation of Estonia, Oksanen's great aunt was arrested and brutally interrogated—a terrifying experience that permanently traumatized her, leaving her silent for the rest of her life. Same River, Twice uses this family story to illustrate the systematic crimes perpetrated by Russian soldiers and the Russian government for nearly a century. From the Russian military's entry into Berlin in 1945 to its modern invasion of Ukraine, Russia has continually employed violence against women when fighting its enemies—including using rape as an instrument of war. But as Oksanen reveals, such violence has never before been used on such a widespread scale. Life for women in Putin's Russia is little better; gender equality is in decline, women are silenced by the legal system, and rape is used to humiliate victims, especially women in media.Oksanen's sober analysis exposes how, under Putin, genocide and misogyny are inextricably linked: misogyny undergirds Russia’s international alliances, threatening the rights of women and minorities worldwide. As Oksanen ominously reminds us, “In Ukraine, sexual violence is an integral part of genocide. In domestic politics, misogyny is a tool used by the Kremlin to prevent women from rising to power. In international politics, it is a tool of Russian imperialism.”As the threats to democracy grow stronger around the globe, this powerful and timely book is a warning that must not be ignored.Translated from the Finnish by Owen F. Witesman

In this republication, revisit the late Linda Nochlin’s pioneering writings on the representation of women in art. Women―as warriors, workers, mothers, lovers―haunt nineteenth and twentieth-century Western painting. This republication of Representing Women brings together the late Linda Nochlin’s most important and pioneering writings on the representation of women in art as she considers works by Jean-Francois Millet, Eugene Delacroix, Gustave Courbet, Edgar Degas, Georges Seurat, Mary Cassatt, and Kathe Kollwitz, among many others. In a riveting, partly autobiographical introduction, Nochlin argues for the honest virtues of an art history that rejects methodological presuppositions and for art historians to investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit. 170 illustrations