This three-volume collection focuses on writings by and about cross-dressing women from the early nineteenth century up until the beginning of World War II. In so doing, it provides a new perspective on one of the most decisive periods in the history of feminism. The anthology brings together for the first time key texts from the sexological and the literary realms, as well as newspaper articles, letters and photographs, which document the phenomenon of cross-dressing women in nineteenth- and early twentieth-century British culture. The collection also includes translations from European texts that impacted on British understandings of cross-dressing during this time. A fascinating work, each of the volumes is introduced separately with a critical essay, and is divided thematically to include sections devoted to theories, fictions and fictionalisations, and lives. Together, these volumes make available important source material for the history of feminism.

First published in 2004. Routledge is an imprint of Taylor and Francis, an informa company.

First published in 2008. Women and Empire, 1750-1939 functions to extend significantly the range of the History of Feminism series (co-published by Routledge and Edition Synapse), bringing together the histories of British and American women's emancipation, represented in earlier sets, into juxtaposition with histories produced by different kinds of imperial and colonial governments. The alignment of writings from a range of Anglo-imperial contexts reveals the overlapping histories and problems, while foregrounding cultural specificities and contextual inflections of imperialism. The volumes focus on countries, regions, or continents formerly colonized (in part) by Britain: Volume I: Australia, Volume II: New Zealand, Volume III: Africa, Volume IV: India, Volume V: Canada. Perhaps the most novel aspect of this collection is its capacity to highlight the common aspects of the functions of empire in their impact on women and their production of gender, and conversely, to demonstrate the actual specificity of particular regional manifestations. Concerning questions of power, gender, class and race, this new Routledge-Edition Synapse Major Work will be of particular interest to scholars and students of imperialism, colonization, women's history, and women's writing.

Boobs. Tits. Hooters. Knockers. Jugs. Breasts. We celebrate them; we revile them. They nourish us; they kill us. And regardless of what we call them, breasts have fascinated us since prehistoric times. This A-to-Z encyclopedia explores the historical magnitude and cultural significance of the breast over time and around the world. A team of international scholars from various disciplines provides key insights and information about the breast in art, history, fashion, social movements, medicine, sexuality, and more. Entries discuss depictions of breasts on ancient figurines, in Renaissance paintings, and in present-day advertisements. They examine how fashion has emphasized or de-emphasized the breast at various times. They tackle medical issues—such as breast augmentation and breast cancer—and controversies over breastfeeding. The breast as sexual object and even a site of smuggling are also covered. As a whole, the Cultural Encyclopedia of the Breast takes an engaging and accessible look at this notable body part.

In this unique intervention in the study of queer culture, Dominic Janes highlights that, under the gaze of social conservatism, 'gay' life was hiding in plain sight. Indeed, he argues that the worlds of glamour, fashion, art and countercultural style provided rich opportunities for the construction of queer spectacle in London. Inspired by the legacies of Oscar Wilde, interwar and later 20th-century men such as Cecil Beaton expressed transgressive desires in forms inspired by those labelled 'freaks' and, thereby, made major contributions to the histories of art, design, fashion, sexuality, and celebrity. Janes reinterprets the origins of gay and queer cultures by charting the interactions between marginalized freaks and chic fashionistas. He establishes a new framework for future analyses of other cities and media, and of the roles of women and diverse identities.

On the 15th of June 1921, during his stay in Baden-Baden, Germany, British novelist D. H. Lawrence (1885-1930) encountered the German physicist Albert Einstein (1879-1955). Lawrence read an English translation of Relativity: The Special and General Theory, which had been published in the previous year. The very next day he wrote: “Einstein isn’t so metaphysically marvellous, but I like him for taking out the pin which fixed down our fluttering little physical universe” (4L 37). Lawrence’s first response to Einstein is ambivalent, for his reading of works by Victorian relativists such as Charles Darwin, T. H. Huxley, William James, Herbert Spencer and Ernst Haeckel had helped him foster his own concept of relativity, while his representations of relativity had interacted with modern artists including Pablo Picasso, Marcel Duchamp and Umberto Boccioni. This book shows Lawrence’s exploration of relativity in the late nineteenth- and early twentieth-century European cultural climate of Modernism and examines his representation of relativity in Women in Love (1920), The Lost Girl (1920), Aaron’s Rod (1922) and The Fox (original version, 1920; revised version, 1922).