Kate Millett at the Woman's Salon

Inscription: Verso: The Woman's Salon, New York.

Woman at women's rights demonstration wearing a ribbon reading "Woman power 72"

Inscription: Verso: women's rights demonstration Bryant Park, New York.

Portrait of Henrietta Weigal at the Woman's Salon.

Inscription: Verso: The Woman's Salon, New York.

Woman holding poster at women's rights demonstration.

Inscription: Verso: Women's demonstration, New York.

Judy Chicago reading at woman's salon event

Inscription: Verso: The Woman's Salon, New York.

Anti-woman's rights demonstrators, mostly male, one holding a sign reading, "This morning I made love to my wife - she loved it!"

Inscription: Verso: protestors demonstrate against women's rights, Fifth Avenue, New York.

Unidentified woman holding a sign reading "Men -our- masters," with a man smoking in the foreground, at an anti-women's rights demonstration.

Inscription: Verso: anti-women's rights demonstrators, New York.

Woman with ERA shirt attending International Women's Day march.

Inscription: Verso: International Women's Day march and rally, New York.

Gloria Orenstein at the Woman's Salon

Inscription: Verso: The Woman's Salon, New York. Gloria Orenstein, founder.

Arab woman : different culture, different feminism

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Arab woman : different culture, different feminism

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Gender, Nationality and Cultural Representations of Ireland: An Irish Woman's Place?

Ireland has struggled with its ‘feminine’ identity throughout its history. The so-called ‘chasmic dichotomy of male and female' is embedded in colonial and postcolonial constructions of Irishness and it continues to manifest itself in contemporary cultural representations of Ireland and Irishness. This study explores issues of gender and nationality via a reading of a 70-second television advertisement for Caffrey's Irish Ale, titled ‘New York’. The article suggests that, although colonial and postcolonial discourse on Ireland continues to perceive the ‘feminine’ in problematic terms, this is gradually changing as Irish women increasingly, in poet Eavan Boland's words, ‘open a window on those silences, those false pastorals, those ornamental reductions’ that have confined us.

Daughter of Eve, "Femme Fatale", and Persecuted Artist: The Mythic Transgressive Woman in Oscar Wilde's and Richard Strauss's "Salome"

Historically, Salome was an unexceptional figure who never catalyzed John the Baptist's death. However, in Christian Scripture, she becomes the dancing seductress as fallen daughter of Eve.  Her stepfather Herod promises Salome his kingdom if she dances for him, but she follows her mother’s wish to have John beheaded. In Strauss’s opera, after Wilde's Symbolist-Decadent play, Salome becomes independent of Herodias’ will, and the mythic avatar of the femme fatale and persecuted artist who Herod has killed after she kisses John's severed head.  Her signature key of C# major, resolving to the C major sung by Herod and Jokanaan at her death, represent her tragic fate musically.