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Full-Text Articles in Women's History
The Feminine Harp As Feminist Tool: Early Professional Footing For Women In Mid-Twentieth-Century America, Chelsea Lane
The Feminine Harp As Feminist Tool: Early Professional Footing For Women In Mid-Twentieth-Century America, Chelsea Lane
Dissertations, Theses, and Capstone Projects
In 1930s North America, women—for the first time—were accorded permanent principal positions in significant American orchestras. Edna Phillips, Alice Chalifoux, and Sylvia Meyer, all students of the legendary harp pedagogue Carlos Salzedo, have been celebrated as pioneers for the prestigious employment they obtained in the Philadelphia Orchestra, Cleveland Orchestra, and National Symphony Orchestra, respectively, between 1930 and 1933. Despite the impressiveness of these accomplishments, however, the narrative of their “firstness” is not wholly accurate. In actuality, female harpists have occupied orchestral posts as acting principals, substitutes, and second harpists since the very inception of orchestras. The cause for their early …
The Space Between “Seen” And “Unseen:” Queer People And The 1915-1945 New Negro Renaissance, Claudia R. Campanella
The Space Between “Seen” And “Unseen:” Queer People And The 1915-1945 New Negro Renaissance, Claudia R. Campanella
Dissertations and Theses
In November 1926, a group of Black artists, writers, and activists created the first and only edition of Fire!!, edited by novelist Wallace Thurman. Fire!! was created by a younger generation of New Negroes and “devoted to the younger Negro artists” who dissented from the mainstream ideas of the New Negro Movement and used the magazine to spread their own views on the 1915-1945 New Negro Renaissance. Fire!! and other texts speaking to this dissent against a Black intellectual middle class image of the movement will be studied in reference to showcasing the multi-faceted elements of the movement touching …
In Her Own Hands: How Girls And Women Used The Piano To Chart Their Futures, Expand Women's Roles, And Shape Music In America, 1880–1920, Sarah F. Litvin
In Her Own Hands: How Girls And Women Used The Piano To Chart Their Futures, Expand Women's Roles, And Shape Music In America, 1880–1920, Sarah F. Litvin
Dissertations, Theses, and Capstone Projects
American girls and women used the parlor piano to reshape their lives between 1880 and 1920, the years when the instrument reached the height of its commercial and cultural popularity. Newspapers, memoirs, biographies, women’s magazines, personal papers, and trade publications show that female pianists engaged in public-facing piano play and work in pursuit of artistic expression, economic gain, self-actualization, social mobility, and social change. These motivations drove many to use their piano skills to play beyond the parlor, by studying in conservatory, working as classical and popular music performers and composers, founding and teaching at schools, working as department store …
Creating Herstory: Female Rebellion In Arundhati Roy’S "The God Of Small Things" And "The Ministry Of Utmost Happiness", Priyanka Tewari
Creating Herstory: Female Rebellion In Arundhati Roy’S "The God Of Small Things" And "The Ministry Of Utmost Happiness", Priyanka Tewari
Theses and Dissertations
In The God of Small Things and The Ministry of Utmost Happiness novels, the author Arundhati Roy is not only attempting to give feminist weight to the multiplicity of locations in which gender is articulated by recasting her female characters in their quest for selfhood, she is also focusing on women and women-identified characters as agents of history, thereby contributing to an ongoing project of feminist historiography.
Building Brand Kurdistan: Helly Luv, The Gender Of Nationhood, And The War On Terror, Nicholas S. Glastonbury
Building Brand Kurdistan: Helly Luv, The Gender Of Nationhood, And The War On Terror, Nicholas S. Glastonbury
Publications and Research
In the early 2000s, the Kurdistan Regional Government hired a US-based firm to begin a public relations campaign called “The Other Iraq.” Since that time, it has worked with a number of PR and lobbying firms to build a cultural, political, and financial apparatus that I refer to as Brand Kurdistan. This apparatus aims to prove to Western audiencesthat the Kurds are a liberal exception in an illiberal Middle East, and to build prospects of KRG’s eventual national independence. This article explores the connections between Brand Kurdistan and the gendering of Kurdish nationalism, focusing particularly on Kurdish pop diva Helly …