This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book studies the ways traditional polarized images of women have been used and challenged in the Hispanic world, especially during the 20th century and the beginning of the 21st century by writers and the media, but also in earlier time periods. The chapters analyze the image of women in specific political periods such as Francoism or the Kirchners’ administration, stereotypes of women in films in Mexico and Chile, and the representation of women in textbooks, among other topics. Contributions also show how two women writers, in the 17th and the 19th centuries, viewed the role of women in their society.

A Taino Indian boy on the island of San Salvador recounts the landing of Columbus and his men in 1492.

In North America between 1894 and 1930, the rise of the “New Woman” sparked controversy on both sides of the Atlantic and around the world. As she demanded a public voice as well as private fulfillment through work, education, and politics, American journalists debated and defined her. Who was she and where did she come from? Was she to be celebrated as the agent of progress or reviled as a traitor to the traditional family? Over time, the dominant version of the American New Woman became typified as white, educated, and middle class: the suffragist, progressive reformer, and bloomer-wearing bicyclist. By the 1920s, the jazz-dancing flapper epitomized her. Yet she also had many other faces. Bringing together a diverse range of essays from the periodical press of the late nineteenth and early twentieth centuries, Martha H. Patterson shows how the New Woman differed according to region, class, politics, race, ethnicity, and historical circumstance. In addition to the New Woman’s prevailing incarnations, she appears here as a gun-wielding heroine, imperialist symbol, assimilationist icon, entrepreneur, socialist, anarchist, thief, vamp, and eugenicist. Together, these readings redefine our understanding of the New Woman and her cultural impact.

Mona Chollet's In Defense of Witches is a “brilliant, well-documented” celebration (Le Monde) by an acclaimed French feminist of the witch as a symbol of female rebellion and independence in the face of misogyny and persecution. Centuries after the infamous witch hunts that swept through Europe and America, witches continue to hold a unique fascination for many: as fairy tale villains, practitioners of pagan religion, as well as feminist icons. Witches are both the ultimate victim and the stubborn, elusive rebel. But who were the women who were accused and often killed for witchcraft? What types of women have centuries of terror censored, eliminated, and repressed? Celebrated feminist writer Mona Chollet explores three types of women who were accused of witchcraft and persecuted: the independent woman, since widows and celibates were particularly targeted; the childless woman, since the time of the hunts marked the end of tolerance for those who claimed to control their fertility; and the elderly woman, who has always been an object of at best, pity, and at worst, horror. Examining modern society, Chollet concludes that these women continue to be harrassed and oppressed. Rather than being a brief moment in history, the persecution of witches is an example of society’s seemingly eternal misogyny, while women today are direct descendants to those who were hunted down and killed for their thoughts and actions. With fiery prose and arguments that range from the scholarly to the cultural, In Defense of Witches seeks to unite the mythic image of the witch with modern women who live their lives on their own terms.

A Scholarly Edition of the Gamaliel (Valencia: Juan Jofre, 1525) is a modernized edition of a popular Spanish devotional that appeared in multiple editions until it was banned by the Spanish Inquisition due to its anonymous authorship and apocryphal content.