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The swooning Victorian ladies and the 1950s housewives genuinely needed to be liberated. That much is indisputable. So, First-Wave feminists held rallies for women's suffrage. Second-Wave feminists marched for Prohibition, jobs, and abortion. Today, Third-Wave feminists stand firmly for nobody's quite sure what. But modern women--who use psychotherapeutic antidepressants at a rate never before seen in history--need liberating now more than ever. The truth is, feminists don't know what liberation is. They have led us into a very boring dead end. Eve in Exile sets aside all stereotypes of mid-century housewives, of China-doll femininity, of Victorians fainting, of women not allowed to think for themselves or talk to the men about anything interesting or important. It dismisses the pencil-skirted and stiletto-heeled executives of TV, the outspoken feminists freed from all that hinders them, the brave career women in charge of their own destinies. Once those fictionalized stereotypes are out of the way--whether they're things that make you gag or things you think look pretty fun--Christians can focus on real women. What did God make real women for?

Excerpt from The Heritage of Eve Jemima Ann, where he had speedily won a considerable fortune, which, however, was even more speedily dissipated in kindred enterprises. That he might wrestle well, and overcome more than his enemies, his ambitious godfather selected the name Of Orlando for the destined student. He would gladly have adopted his protege but for two reasons. One was that Orlando's Aunt Margery, from what she called a high sense Of duty, ' thought fit to bury family feuds and see after her ne'er-do-well brother's son her self. The other was sadder still, namely, that in spite Of his beautifully appropriate name, his training from the cradle, and all the influences which could be brought to bear on him, Orlando showed a distinct preference for' blowing birds' eggs, flying kites, sailing boats, even winding worsted yarn or beating batter - any amusement or occupa tion, in short, rather than apply his youthful mind to Shakespearian study; and it was an incontrovertible fact that his play-fellow, Titania, though she belonged to the weaker sex, displayed more appreciation Of and aptitude in the pursuit Of knowledge. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This ambitious book explores the relationship between the Western "scientific revolution" that began with Galileo in the early seventeenth century and the Renaissance "artistic revolution" inaugurated by Giotto three hundred years earlier. The fruit of many years of thought and research, it demonstrates the crucial role that Italian Renaissance painting, sculpture, and architecture played in what we call "modern science". Samuel Y. Edgerton, Jr., shows that rather than being symptomatic in nature, the arts served as a catalyst for the transformation in perception which occurred in the West in the fourteenth century. According to Edgerton, the new way in which "reality" was represented, through the use of the unique Renaissance tools of perspective and chiaroscuro, set the stage for modern scientific practice.

To Julie Metz, her mother, Eve, was the quintessential New Yorker. It was difficult to imagine her living anywhere else except the Upper West Side of Manhattan. In truth, Eve had endured a harrowing childhood in Nazi-occupied Vienna, though she rarely spoke about it. Yet after her passing, Julie discovered a keepsake box filled with farewell notes from friends and relatives addressed to a ten-year-old girl named Eva, her mother. This was the first clue to the secret pain that Julie's mother had carried as an immigrant, and it shed light on a family that had to rely on its own perseverance to escape the xenophobia that threatened their survival. A beautiful blend of personal memoir and family history, Metz shows how one woman's search for her mother's lost childhood offers valuable lessons about the sacrifices people make to save their families during some of the darkest times in history.