DIVDisappearing women as a persistent trope from nineteenth-century magic through contemporary theory, film, and psychoanalysis./div

"Based on the true story of Ellen Craft, a light-skinned slave who escaped from Georgia in 1848. By posing as an ailing white man while her husband pretended to be her slave, Ellen and William Craft traveled over one thousand to freedom"--

With the help of mirrors, trap doors, elevators, photographs, and film, women vanish and return in increasingly spectacular ways throughout the nineteenth and twentieth centuries. Karen Beckman tracks the proliferation of this elusive figure, the vanishing woman, from her genesis in Victorian stage magic through her development in conjunction with photography and film. Beckman reveals how these new visual technologies projected their anxieties about insubstantiality and reproducibility onto the female body, producing an image of "woman" as utterly unstable and constantly prone to disappearance. Drawing on cinema studies and psychoanalysis as well as the histories of magic, spiritualism, and photography, Beckman looks at particular instances of female vanishing at specific historical moments—in Victorian magic’s obsessive manipulation of female and colonized bodies, spiritualist photography’s search to capture traces of ghosts, the comings and goings of bodies in early cinema, and Bette Davis’s multiple roles as a fading female star. As Beckman places the vanishing woman in the context of feminism’s discussion of spectacle and subjectivity, she explores not only the problems, but also the political utility of this obstinate figure who hovers endlessly between visible and invisible worlds. Through her readings, Beckman argues that the visibly vanishing woman repeatedly signals the lurking presence of less immediately perceptible psychic and physical erasures, and she contends that this enigmatic figure, so ubiquitous in late-nineteenth- and twentieth-century culture, provides a new space through which to consider the relationships between visibility, gender, and agency.

Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.

From the bestselling author of What You Did comes a true-crime investigation that cast a dark shadow over the Ireland of her childhood. Ireland in the 1990s seemed a safe place for women. With the news dominated by the Troubles, it was easy to ignore non-political murders and sexual violence, to trust that you weren't going to be dragged into the shadows and killed. But beneath the surface, a far darker reality had taken hold. Through questioning the society and circumstances that allowed eight young women to vanish without a trace―no conclusion or conviction, no resolution for their loved ones―bestselling crime novelist Claire McGowan delivers a candid investigation into the culture of secrecy, victim-blaming and shame that left these women's bodies unfound, their fates unknown, their assailants unpunished. McGowan reveals an Ireland not of leprechauns and craic but of outdated social and sexual mores, where women and their bodies were of secondary importance to perceived propriety and misguided politics--a place of well-buttoned lips and stony silence, inadequate police and paramilitary threat. Was an unknown serial killer at large or was there something even more insidious at work? In this insightful, sensitively drawn account, McGowan exposes a system that failed these eight women--and continues to fail women to this day.

Skin-lightening is currently one of the most common forms of potentially harmful body modification practices in the world and African women are among some of the most widely represented users of skin-lightening products. The overall objective of this book is to provide up-to-date evidence-based recommendations for reducing the global burden of cosmetic skin bleaching and preventing injuries related to skin bleaching in sub-Saharan Africa and Africans in diaspora. The book aims to: offer an appraisal of all relevant literature on cosmetic bleaching practices to-date, focusing on any key developments; identify and address important medical, public health issues as well as historical, genetic, psychosocial, cultural, behavioural, socioeconomic, political, institutional and environmental determinants; provide guideline recommendations that would help attenuate the burden and possibly eliminate the injuries related to skin bleaching; discuss potential developments and future directions.

The story of the vulnerable white person vanishing without trace into the harsh Australian landscape is a potent and compelling element in multiple genres of mainstream Australian culture. It has been sung in “Little Boy Lost,” brought to life on the big screen in Picnic at Hanging Rock, immortalized in Henry Lawson’s poems of lost tramps, and preserved in the history books’ tales of Leichhardt or Burke and Wills wandering in mad circles. A world-wide audience has also witnessed the many-layered and oddly strident nature of Australian disappearance symbolism in media coverage of contemporary disappearances, such as those of Azaria Chamberlain and Peter Falconio. White Vanishing offers a revealing and challenging re-examination of Australian disappearance mythology, exposing the political utility at its core. Drawing on wide-ranging examples of the white-vanishing myth, the book provides evidence that disappearance mythology encapsulates some of the most dominant and durable categories at the heart of white Australian culture, and that many of those ideas have their origin in colonial mechanisms of inequality and oppression. White Vanishing deliberately (and perhaps controversially) reminds readers that, while power is never absolute or irresistible, some narrative threads carry a particularly authoritative inheritance of ideas and power-relations through time.