Womens Space In The Crazy Eights

When Tilly receives an invitation to help drive eight elders on their ultimate bucket-list road trip, she impulsively says yes. Before she knows it, Tilly has said good-bye to her family and is on an adventure that will transform her in ways she could not predict, just as it will for the elders who soon dub themselves “the Crazy Eights.” The Crazy Eights each choose a stop—somewhere or something they’ve always wanted to experience—on the way to their ultimate goal, the Gathering of Nations Pow Wow in Albuquerque. Their plan is to travel to Las Vegas, Sedona, and the Redwood Forests, with each destination the inspiration for secrets and stories to be revealed. The trip proves to be powerful medicine as they laugh, heal, argue, and dream along the way. By the time their bus rolls to a stop in New Mexico, Tilly and the Crazy Eights, with friendships forged and hearts mended, feel ready for anything. But are they?

In The Anti-Heroine on Contemporary Television: Transgressive Women, Molly Brost explores the various applications and definitions of the term anti-heroine, showing that it has been applied to a wide variety of female characters on television that have little in common beyond their failure to behave in morally “correct” and traditionally feminine ways. Rather than dismiss the term altogether, Brost employs the term to examine what types of behaviors and characteristics cause female characters to be labeled anti-heroines, how those qualities and behaviors differ from those that cause men to be labeled anti-heroes, and how the label reflects society’s attitudes toward and beliefs about women. Using popular television series such as Jessica Jones, Scandal, and The Good Place, Brost acknowledges the problematic nature of the term anti-heroine and uses it as a starting point to study the complex women on television, analyzing how the broadening spectrum of character types has allowed more nuanced portrayals of women’s lives on television.

This groundbreaking volume helps readers understand the history, evolution, and significance of this wide-ranging, often misunderstood, and increasingly important field of study.

Unruly Media argues that we are the crest of a new international style in which sonic and visual parameters become heightened and accelerated. This audiovisual turn calls for new forms of attention. Post-classical cinema, with its multi-plot narratives and flashy style, fragments under the influence of audiovisual numbers and music-video-like sync. Music video becomes more than a way of selling songs. YouTube's brief, low-res clips encompass many forms and foreground reiteration, graphic values and affective intensity. These three media are riven by one another: a trajectory from YouTube through music video to the new digital cinema reveals commonalities, especially in the realms of rhythm, texture and form. This is the first book to account for the current audiovisual landscape across medium and platform, and it demonstrates that attending equally to soundtrack and image reveals how these media work and how they both mirror and shape our experience.

This interdisciplinary collection explores the relationships between women and built space in England between the 1870s and the 1940s. Included are East End rent collectors, tenants, diarists and correspondents, committee and Guild members, provincial and metropolitan exhibitors, social reformers, activists, and homemakers. Taken together, these essays dramatically expand our conception of the scope and effectiveness of women's contributions, both to the creation of modern built environments, and to the development of discourses associated with them.

A nuanced re-evaluation of the ways in which gender affected the use of physical space in early modern England. Space was not simply a passive backdrop to a social system that had structural origins elsewhere; it was vitally important for marking out and maintaining the hierarchy that sustained social and gender order in sixteenth- and seventeenth-century England. Gender had a considerable influence on its use and organization; status and gender were displayed physically and spatially every moment of the day, from a person's place at table to the bed on which he orshe slept, in places of work and recreation, in dress, gesture and modes of address. Space was also the basis for the formation of gender identities which were constantly contested and restructured, as this book shows.Examining in turn domestic, social and sacred spaces and the spatial division of labour in gender construction, the author demonstrates how these could shift, and with them the position and power of women. She shows that the ideological assumption that all women are subject to all men is flawed, and exposes the limitations of interpretations which rely on the model and binary opposition of public/private, male/female, to describe gender relations and theirchanges across the period, thus offering a much more complex and picture than has hitherto been perceived. The book will be essential reading not just for historians of the family and of women, but for all those studying early modern social history. AMANDA FLATHER is a lecturer in the Department of History at the University of Essex.

The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.

For every woman, from the young to those in midlife and beyond, who has ever been told, "You can't" and thought, "Oh, I definitely will!"--this book is for you. Women are expected to be many things. They should be young enough, but not too young; old enough, but not too old; creative, but not crazy; passionate, but not angry. They should be fertile and feminine and self-reliant, not barren or butch or solitary. Women, in other words, are caught between social expectations and a much more complicated reality. Women who don't fit in, whether during life transitions or because of changes in their body, mind, or gender identity, are carving out new ways of being in and remaking the world. But this is nothing new: they have been doing so for thousands of years, often at the margins of the same religious traditions and cultures that created these limited ways of being for women in the first place. In The Defiant Middle, Kaya Oakes draws on the wisdom of women mystics and explores how transitional eras or living in marginalized female identities can be both spiritually challenging and wonderfully freeing, ultimately resulting in a reinvented way of seeing the world and changing it. "Change, after all," Oakes writes, "always comes from the margins."

Why, Amy E. Foster asks, did it take two decades after the Soviet Union launched its first female cosmonaut for the United States to send its first female astronaut into space? In answering this question, Foster recounts the complicated history of integrating women into NASA’s astronaut corps. NASA selected its first six female astronauts in 1978. Foster examines the political, technological, and cultural challenges that the agency had to overcome to usher in this new era in spaceflight. She shows how NASA had long developed progressive hiring policies but was limited in executing them by a national agenda to beat the Soviets to the moon, budget constraints, and cultural ideas about women’s roles in America. Lively writing and compelling stories, including personal interviews with America’s first women astronauts, propel Foster’s account. Through extensive archival research, Foster also examines NASA’s directives about sexual discrimination, the technological issues in integrating women into the corps, and the popular media’s discussion of women in space. Foster puts together a truly original study of the experiences not only of early women astronauts but also of the managers and engineers who helped launch them into space. In documenting these events, Foster offers a broader understanding of the difficulties in sexually integrating any workplace, even when the organization approaches the situation with as positive an outlook and as strong a motivation as did NASA.