Tracing the development of the field of southern women’s history over the past half century, Sisterly Networks shows how pioneering feminists laid the foundation for a strong community of sister scholars and delves into the work of an organization central to this movement, the Southern Association for Women Historians (SAWH). Launched in 1970, the SAWH provided programming, mentoring, fundraising, and outreach efforts to support women historians working to challenge the academic establishment. In this book, leading scholars reflect on their own careers in southern history and their experiences as women historians amid this pathbreaking expansion and revitalization of the field. Their stories demonstrate how women created new archival collections, expanded historical categories to include gender and sexuality, reimagined the roles and significance of historical women, wrote pioneering monographs, and mentored future generations of African American women and other minorities who entered the academy and contributed to public discourse. Providing a lively roundtable discussion of the state of the field, contributors comment on present and future work environments and current challenges in higher education and academic publishing. They offer profound and provocative insights on the ways scholars can change the future through radically rewriting the gender biases of recorded history. Contributors: Catherine Clinton | Michele Gillespie | Glenda E. Gilmore | Cherisse Jones-Branch | Melissa Walker A volume in the series Frontiers of the American South, edited by William A. Link

Between the world wars, Chicago Race women nurtured a local yet widely resonant Black classical music community entwined with Black civic life. Samantha Ege tells the stories of the Black women whose acumen and energy transformed Chicago’s South Side into a wellspring of music making. Ege focuses on composers like Florence Price, Nora Holt, and Margaret Bonds not as anomalies but as artists within an expansive cultural flowering. Overcoming racism and sexism, Black women practitioners instilled others with the skill and passion to make classical music while Race women like Maude Roberts George, Estella Bonds, Neota McCurdy Dyett, and Beulah Mitchell Hill built and fostered institutions central to the community. Ege takes readers inside the backgrounds, social lives, and female-led networks of the participants while shining a light on the scene’s audiences, supporters, and training grounds. What emerges is a history of Black women and classical music in Chicago and the still-vital influence of the world they created. A riveting counter to a history of silence, South Side Impresarios gives voice to an overlooked facet of the Black Chicago Renaissance.

Sisterly Love: Women of Note in Pennsylvania History is a collection of biographical sketches of women who have made or are making significant contributions to Pennsylvania history. The authors of each chapter span across several disciplines and colleges in the Philadelphia area through SEPCHE, the Southeast Pennsylvania Consortium of Higher Education. In these essays you will meet artists, political leaders, entrepreneurs, teachers, computer experts, environmentalists, abolitionists, and more. Some of these women are well-known; many are not. Yet each has helped to shape the state of Pennsylvania in compelling and meaningful ways.

This book conceives the role of the modern town as a crucial place for material and cultural circulations of luxury. It concentrates on a critical period of historical change, the long eighteenth and nineteenth centuries, that was marked by the passage from a society of scarcity to one of expenditure and accumulation, from ranks and orders to greater social mobility, from traditional aristocratic luxury to a new bourgeois and even democratic form of luxury. This volume recognizes the notion that luxury operated as a mechanism of social separation, but also that all classes aspired to engage in consumption at some level, thus extending the idea of what constituted luxury and blurring the boundaries of class and status, often in unsettling ways. It moves beyond the moral aspects of luxury and the luxury debates to analyze how the production, distribution, purchase or display of luxury goods could participate in the creation of autonomous selves and thus challenge gender roles.

In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.

This book of essays about Mormon women, all written and edited by scholars who are themselves Mormon women, is a brave and important work. Readers will fully appreciate just how brave and important it really is, however, if they can see how this work of historical theology fits into the history of historical writing about Mormon women, as well as how it fits into Mormon history itself. "The women who contributed to this book are among the best of the Mormon literati . . . they] hold that there is hope within the church for change, for reform, for expansion of the place of women." -- Women's Review of Books "Historians of women in America have a great deal to learn from the history of Mormon women. This fine set of essays provides an excellent introduction to a subject about which we should all know more." -- Anne Firor Scott, author of Making the Invisible Woman Visible.

Spanning two hundred years of history from the nineteenth century to the 1990s, Sisters or Strangers? explores the complex lives of immigrant, ethnic, and racialized women in Canada. The volume deals with a cross-section of peoples - including Japanese, Chinese, Black, Aboriginal, Irish, Finnish, Ukrainian, Jewish, Mennonite, Armenian, and South Asian Hindu women - and diverse groups of women, including white settlers, refugees, domestic servants, consumer activists, nurses, wives, and mothers. The central themes of Sisters or Strangers? include discourses of race in the context of nation-building, encounters with the state and public institutions, symbolic and media representations of women, familial relations, domestic violence and racism, and analyses of history and memory. In different ways, the authors question whether the historical experience of women in Canada represents a 'sisterhood' of challenge and opportunity, or if the racial, class, or marginalized identity of the immigrant and minority women made them in fact 'strangers' in a country where privilege and opportunity fall according to criteria of exclusion. Using a variety of theoretical approaches, this collaborative work reminds us that victimization and agency are never mutually exclusive, and encourages us to reflect critically on the categories of race, gender, and the nation.