The legendary Victorian traveler's previously unpublished letters to her homebound sister.

Gids per streek voor de volksdans en volksmuziek in Spanje en Portugal.

Gillian Brown explores the key relationship between domestic ideology and formulations of the self in 19th-century America. Arguing that domesticity not only presumes but institutes distinctions of gender, class, and race, Brown reveals how these distinctions in turn inform identity. She offers a new reading of writings by Stowe, Hawthorne, Melville, Fern, and Gilman.

Over the past century, women artists and writers have expressed diverse creative responses to the landscape of the Southwest. The Desert Is No Lady provides a cross-cultureal perspective on women by examining Anglo, Hispanic, and Native American women's artistic expressions and the effect of their art in defining the southwestern landscape. The Desert Is No Lady has been made into a motion picture of the same title by Women Make movies, New York, NY "A beautifully crafted book. . . . Although it varies in intensity, the response of women to the environment is virtually always different from the male frontiersman's view of the land as inanimate, boundless, conquerable and controllable." ÑPolly Wells Kaufman in Women's Review of Books "A powerful masterpiece." ÑEve Gruntfest in The Professional Geographer

The author recalls the stories of three generations of African American women in her family--her grandmother's move from Alabama to Chicago, her mother's relocation to Boston after her father's death, and her own journey to Africa and back

Historische beschouwingen over de Verenigde Staten, gekoppeld aan een biografische schets van Gerald Ford, van 1974 tot 1977 president van de Verenigde Staten.

Producing against Poverty is an anthropological research on micro-entrepreneurs in Lima, Peru. It analyses the way micro-producers accumulate capital. The anthropological approach of the book starts with an analysis of the daily lives of the micro-producers. Its gender approach makes a comparison between the position of men and women throughout its argumentation. The author also analyses the conditions of labourers working for micro-producers. By paying extensive attention to the subcontracting links between micro-production and the large scale production process, she carefully builds up to general conclusions which go way beyond the micro level of analysis. Micro-production reproduces poverty by subordinating important participants of the production such as women and labourers. The ultimate conclusion is that the informal sector grows not only in times of economic recession, but also in times of economic growth.

Genummerde oplage van 500 ex., dit exemplaar draagt nr. 135, met z-w ill.

Platenboek met z-w en kleurenill.

Elk van de honderd meesterwerken wordt kort beschreven en is in kleur afgebeeld.

Een beknopte uitgave van de originele publicatie uit 1964 met kleurenill.

Met kleurenfoto's.

Presents a history of prostitution from ancient times up to the present day, with emphasis on how different societies in history have viewed and dealt with prostitutes.

Twee verslagen in Engels met z-w foto's van tochten in 1923 naar stammengebied in Noord-Oost India.

Met z-w en kleurenill., bibliografie.

Publicatie met z-w en kleurenill. verschenen t.g.v. de eenmanstent. in Jakarta (Duta fine arts Foundation).

Seduction is the first book to explore the sensual style of the seductress, from Marie Antoinette and Madame de Pompadour in pre-revolutionary France, through the screen queens of 1930s Hollywood, such as Jean Harlow and Marlene Dietrich, to the contemporary sex sirens of today, Madonna and Jennifer Lopez. In chronological, themed chapters, international fashion authority, Caroline Cox explores the art of seduction, examining the many ways in which women have used their environment, clothes, and behavior to create a seductive allure. The lively and authoritative text is accompanied by gorgeous new and vintage images.

Nederlandse vertaling van Duits origineel met nadruk op 20e en 21e-eeuwse architectuur.

EVER SINCE HE DISGUISED HIMSELF AS A SNAKE AND TEMPTED EVE WITH AN APPLE, THE DEVIL HAS BEEN EVERYONE'S FAVORITE VILLIAN. LUCIFER HIMSELF IS THE STAR OF THIS BOOK, WHICH CONTAINS IMAGES OF HIM THROUGHOUT THE HISTORY OF ART. ETCHINGS, WOODCUTS, PAINTINGS, ILLUSTRATIONS, DRAWINGS, PHOTOGRAPHS, AND ADVERTISEMENTS FEATURING OF THE DEVIL, BY THE LIKES OF DA VINCI, BOSCH, PIERRE ET GILLES, GIGER, AND MANY MORE, POPULATE THE PAGES OF THIS SUPREMELY ""EVIL"" BOOK.

This volume challenges many stereotypes about Victorian women and their families and offers insights into middle-class life in Britain from 1840 through the early years of the 20th century. Eleanor Gordon and Gwyneth Nair examine women's relationships, their marriages, the ways they earned and spent their money, and their social, spiritual, and civic lives. What emerges from this fascinating research is a revised - and far richer - view of middle class women's experiences in the Victorian era than has been understood before. family as a private enclave in which women's roles related only to service and dependency are narrow and inaccurate. In fact, as arbiters of taste, managers of display, and consumers of culture, women were central to the creation of middle-class identity and culture. Gordon and Nair explore men's and women's personal diaries, correspondence, inventories, wills, census reports, and other documents from Victorian Glasgow, the second most important British city of the period. Their findings illuminate the everyday lives of single and widowed as well as married women, and they reveal for the first time the complexity of roles that Victorian women of the middle classes assumed in domestic, economic, and public spheres.