With this remarkable study, historian Keira V. Williams shows how fictional matriarchies—produced for specific audiences in successive eras and across multiple media—constitute prescriptive, solution-oriented thought experiments directed at contemporary social issues. In the process, Amazons in America uncovers a rich tradition of matriarchal popular culture in the United States. Beginning with late-nineteenth-century anthropological studies, which theorized a universal prehistoric matriarchy, Williams explores how representations of women-centered societies reveal changing ideas of gender and power over the course of the twentieth century and into the present day. She examines a deep archive of cultural artifacts, both familiar and obscure, including L. Frank Baum’s The Wizard of Oz series, Progressive-era fiction like Charlotte Perkins Gilman’s utopian novel Herland, the original 1940s Wonder Woman comics, midcentury films featuring nuclear families, and feminist science fiction novels from the 1970s that invented prehistoric and futuristic matriarchal societies. While such texts have, at times, served as sites of feminist theory, Williams unpacks their cyclical nature and, in doing so, pinpoints some of the premises that have historically hindered gender equality in the United States. Williams also delves into popular works from the twenty-first century, such as Tyler Perry’s Madea franchise and DC Comics/Warner Bros.’ globally successful film Wonder Woman, which attest to the ongoing presence of matriarchal ideas and their capacity for combating patriarchy and white nationalism with visions of rebellion and liberation. Amazons in America provides an indispensable critique of how anxieties and fantasies about women in power are culturally expressed, ultimately informing a broader discussion about how to nurture a stable, equitable society.

The origins of capitalism can be found in the Middle Ages.

The Edwardian period was a time of great social and political change. The six texts in this edition are all notable for their imaginative portrayals of the future. This is the only critical edition of these works. Essays and introductory matter explore the themes in the novels, as well as the literary-historical context they appeared in.

Until recently, scientific and literary cultures have existed side-by-side but most often in parallel universes, without connection. The Trickster Brain: Neuroscience, Evolution, and Nature by David Williams addresses the premise that humans are a biological species stemming from the long process of evolution, and that we do exhibit a universal human nature, given to us through our genes. From this perspective, literature is shown to be a product of our biological selves. By exploring central ideas in neuroscience, evolutionary biology, linguistics, music, philosophy, ethics, religion, and history, Williams shows that it is the circuitry of the brain’s hard-wired dispositions that continually create similar tales around the world: “archetypal” stories reflecting ancient tensions that arose from our evolutionary past and the very construction of our brains. The book asserts that to truly understand literature, one must look at the biological creature creating it. By using the lens of science to examine literature, we can see how stories reveal universal aspects of the biological mind. The Trickster character is particularly instructive as an archetypal character who embodies a raft of human traits and concerns, for Trickster is often god, devil, musical, sexual, silver tongued, animal, and human at once, treading upon the moral dictates of culture. Williams brings together science and the humanities, demonstrating a critical way of approaching literature that incorporates scientific thought.

Here's an irresistible invitation to discover a treasure trove of exceptional words you can use to add sophistication to your vocabulary and charm to your repartee. Consider that without realizing it you may have engaged in acokoinonia (sex without passion or desire), been bored to tears by the company of a philodox (someone in love with his or her opinions), or suffered from recurrent matutolypea (getting up on the wrong side of the bed). Presented with panache by the language connoisseur whom William Safire calls "ek-STROR-di-ner-ee," There's a Word for It will add a dash of wit to your daily life -- lest anyone mistake you for a sumph (stupid oaf) or fritlag (a good-for-nothing).