Uses short biographies of women inventors around the world to demonstrate how inventions come about.

The "woman question", this book asserts, is a Western one, and not a proper lens for viewing African society. A work that rethinks gender as a Western contruction, The Invention of Women offers a new way of understanding both Yoruban and Western cultures. Oyewumi traces the misapplication of Western, body-oriented concepts of gender through the history of gender discourses in Yoruba studies. Her analysis shows the paradoxical nature of two fundamental assumptions of feminist theory: that gender is socially constructed in old Yoruba society, and that social organization was determined by relative age.

The Where Women Create brand--including the first book and a national magazine--has proven hugely popular, and this inspiring volume builds on that success. It's a backstage pass to the insights, muses, and artistic practices of some of today's most notable creative women.

Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction​ ​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​ “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.

This “sobering tale of the real consequences of gender bias” explores how Britain lost its early dominance in computing by systematically discriminating against its most qualified workers: women (Harvard Magazine) In 1944, Britain led the world in electronic computing. By 1974, the British computer industry was all but extinct. What happened in the intervening thirty years holds lessons for all postindustrial superpowers. As Britain struggled to use technology to retain its global power, the nation’s inability to manage its technical labor force hobbled its transition into the information age. In Programmed Inequality, Mar Hicks explores the story of labor feminization and gendered technocracy that undercut British efforts to computerize. That failure sprang from the government’s systematic neglect of its largest trained technical workforce simply because they were women. Women were a hidden engine of growth in high technology from World War II to the 1960s. As computing experienced a gender flip, becoming male-identified in the 1960s and 1970s, labor problems grew into structural ones and gender discrimination caused the nation’s largest computer user—the civil service and sprawling public sector—to make decisions that were disastrous for the British computer industry and the nation as a whole. Drawing on recently opened government files, personal interviews, and the archives of major British computer companies, Programmed Inequality takes aim at the fiction of technological meritocracy. Hicks explains why, even today, possessing technical skill is not enough to ensure that women will rise to the top in science and technology fields. Programmed Inequality shows how the disappearance of women from the field had grave macroeconomic consequences for Britain, and why the United States risks repeating those errors in the twenty-first century.

A thirty-year-old mother of two, Marion Luna Brem had just been given a death sentence: terminal cancer. She had no job. No health insurance. Her marriage would collapse under the stress of her treatment. And her most pressing concern: How do I pay next month’s rent? Her first major “sale” was landing a job as a car salesman. Within two months she had become salesperson of the month and by the end of her first year, salesperson of the year. Four and a half years after selling her first car, Brem bought her own dealership, and in the next decade went on to open additional dealerships and businesses. She beat her cancer, too. In Women Make the Best Salesmen, Brem reveals the top sales strategies she discovered, refined, and applied to build hermultimillion dollar enterprise. But, as she points out, we are all "salesmen" – whether we interviewing for a job or operating a register at a department store, trying to get our children into a special program or looking for a lifelong companion. And women, with their natural social skills and acute emotional antennae, have natural advantages both sexes can learn from. Filled with unconventional wisdom and real-life lessons, Women Make the Best Salesmen is the essential guide to the art of selling yourself.