Representations of sexual difference (whether visual or textual) have become an area of much theoretical concern and investigation in recent feminist scholarship. Yet although a wide range of relevant evidence survives from the ancient Near East, it has been exceptional for those studying women in the ancient world to stray outside the traditional bounds of Greece and Rome. Women of Babylon is a much-needed historical/art historical study that investigates the concepts of femininity which prevailed in Assyro-Babylonian society. Zainab Bahrani's detailed analysis of how the culture of ancient Mesopotamia defined sexuality and gender roles both in, and through, representation is enhanced by a rich selection of visual material extending from 6500 BC - 1891 AD. Professor Bahrani also investigates the ways in which women of the ancient Near East have been perceived in classical scholarship up to the nineteenth century.

Babylon Girls is a groundbreaking cultural history of the African American women who performed in variety shows—chorus lines, burlesque revues, cabaret acts, and the like—between 1890 and 1945. Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped the movement and style of an emerging urban popular culture. In an era of U.S. and British imperialism, these women challenged and played with constructions of race, gender, and the body as they moved across stages and geographic space. They pioneered dance movements including the cakewalk, the shimmy, and the Charleston—black dances by which the “New Woman” defined herself. These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than many of their audiences. Investigating both well-known performers such as Ada Overton Walker and Josephine Baker and lesser-known artists such as Belle Davis and Valaida Snow, Brown weaves the histories of specific singers and dancers together with incisive theoretical insights. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation. Fronting the “picaninny choruses” of African American child performers who toured Britain and the Continent in the early 1900s, and singing and dancing in The Creole Show (1890), Darktown Follies (1913), and Shuffle Along (1921), black women variety-show performers of the early twentieth century paved the way for later generations of African American performers. Brown shows not only how these artists influenced transnational ideas of the modern woman but also how their artistry was an essential element in the development of jazz.

Bizarre inside stories of Hollywood's most beautiful women who were doomed for death. Hollywood's Babylon Women takes the reader behind closed doors and beyond the official reports of law enforcement agencies and studio public relations departments to reveal the sordid romantic, sexual, political and financial factors behind these tragedies. Photos.

The “Great Whore” of the Book of Revelation—the hostile symbolization used to illustrate the author’s critique of empire—has attracted considerable attention in Revelation scholarship. Feminist scholar Tina Pippin criticizes the use of gendered metaphors—“Babylon” as a tortured woman—which she asserts reflect an inescapably androcentric, even misogynistic, perspective. Alternatively, Elisabeth Schüssler Fiorenza understands John’s rhetoric and imagery not simply in gendered terms, but in political terms as well, observing that “Babylon” relies on conventionally coded feminine language for a city. Shanell T. Smith seeks to dismantle the either/or dichotomy within the “Great Whore” debate by bringing the categories of race/ethnicity and class to bear on John’s metaphors. Her socio-cultural context impels her to be sensitive to such categories, and, therefore, leads her to hold the two elements, “woman” and “city,” in tension, rather than privileging one over the other. Using postcolonial womanist interpretation of the woman Babylon, Smith highlights the simultaneous duality of her characterization—her depiction as both a female brothel slave and as an empress or imperial city. Most remarkably, however, Smith’s reading also sheds light on her own ambivalent characterization as both a victim and participant in empire.

In the patriarchal world of ancient Mesopotamia, women were often represented in their relation to men - as mothers, daughters, or wives - giving the impression that a woman's place was in the home. But, as we explore in this volume, they were also authors and scholars, astute business-women, sources of expressions of eroticism, priestesses with access to major gods and goddesses, and regents who exercised power on behalf of kingdoms, states, and empires.

This anthology translates and discusses texts authored by women of ancient Mesopotamia.

Pam's shock at the sudden death of her husband is compounded by the discovery that her husband was different than he appeared and his secrets and betrayals were worse than she could have imagined.