Reconstructing Woman explores a scenario common to the works of four major French novelists of the nineteenth century: Balzac, Flaubert, Zola, and Villiers. In the texts of each author, a “new Pygmalion” (as Balzac calls one of his characters) turns away from a real woman he has loved or desired and prefers instead his artificial re-creation of her. All four authors also portray the possibility that this simulacrum, which replaces the woman, could become real. The central chapters examine this plot and its meanings in multiple texts of each author (with the exception of the chapter on Villiers, in which only “L’Eve future” is considered). The premise is that this shared scenario stems from the discovery in the nineteenth century that humans are transformable. Because scientific innovations play a major part in this discovery, Dorothy Kelly reviews some of the contributing trends that attracted one or more of the authors: mesmerism, dissection, transformism, and evolution, new understandings of human reproduction, spontaneous generation, puericulture, the experimental method. These ideas and practices provided the novelists with a scientific context in which controlling, changing, and creating human bodies became imaginable. At the same time, these authors explore the ways in which not only bodies but also identity can be made. In close readings, Kelly shows how these narratives reveal that linguistic and coded social structures shape human identity. Furthermore, through the representation of the power of language to do that shaping, the authors envision that their own texts would perform that function. The symbol of the reconstruction of woman thus embodies the fantasy and desire that their novels could create or transform both reality and their readers in quite literal ways. Through literary analyses, we can deduce from the texts just why this artificial creation is a woman.

A study of the women who led the United States section of the Women's International League for Peace and Freedom in the interwar years, this book argues that the ideas of these women--the importance of nurturing, nonviolence, feminism, and a careful balancing of people's differences with their common humanity--constitute an important addition to our understanding of the intellectual heritage of the United States. Most of these women were well educated and prominent in their chosen fields: they included Jane Addams and Emily Greene Balch, the only two United States women to win Nobel Prizes for Peace; Jeannette Rankin, the first woman elected to the U.S. Congress; and Dorothy Detzer, the woman who prompted the investigation of the munitions industry in the 1930's. The ideas of these women were not usually expressed in forms conventionally studied by intellectual historians. On the whole, their ideas must be teased out of organizational records, statements of principle and policy, and personal correspondence. When combined with an understanding of the personal backgrounds of the WIL leaders and placed in the context of early-twentieth-century America, these documents tell us what these women thought was important and why. The ideas of the WIL leaders are also analyzed in the context of the intellectual themes of Victorianism and modernism. Our understanding of these themes has been based largely on the work of privileged European and American men, and the ideas of women often fit uncomfortably into these traditional categories. A reconstruction of the ideas of the WIL leaders suggests that historians have overlooked an important, alternative intellectual tradition in the United States. To understand and appreciate women's thoughts, we must dissolve the old constructs and let new, multifaceted ones replace them.

In this first critical study of female abolitionists and feminists in the freedmen's aid movement, Carol Faulkner describes these women's radical view of former slaves and the nation's responsibility to them. Moving beyond the image of the Yankee schoolmarm, Women's Radical Reconstruction demonstrates fully the complex and dynamic part played by Northern women in the design, implementation, and administration of Reconstruction policy. This absorbing account illustrates how these activists approached women's rights, the treatment of freed slaves, and the federal government's role in reorganizing Southern life. Like Radical Republicans, black and white women studied here advocated land reform, political and civil rights, and an activist federal government. They worked closely with the military, the Freedmen's Bureau, and Northern aid societies to provide food, clothes, housing, education, and employment to former slaves. These abolitionist-feminists embraced the Freedmen's Bureau, seeing it as both a shield for freedpeople and a vehicle for women's rights. But Faulkner rebuts historians who depict a community united by faith in free labor ideology, describing a movement torn by internal tensions. The author explores how gender conventions undermined women's efforts, as military personnel and many male reformers saw female reformers as encroaching on their territory, threatening their vision of a wage labor economy, and impeding the economic independence of former slaves. She notes the opportunities afforded to some middle-class black women, while also acknowledging the difficult ground they occupied between freed slaves and whites. Through compelling individual examples, she traces how female reformers found their commitment to gender solidarity across racial lines tested in the face of disagreements regarding the benefits of charity and the merits of paid employment.

"Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist, published in 1987, is a book by Hazel Carby which centers on slave narratives by women. Carby received her Ph.D. in 1984 from Birmingham University. Her doctoral dissertation later became the foundation for the book."--Wikipedia viewed Jan. 7, 2022.

Reconstructing Woman explores a scenario common to the works of four major French novelists of the nineteenth century: Balzac, Flaubert, Zola, and Villiers. In the texts of each author, a “new Pygmalion” (as Balzac calls one of his characters) turns away from a real woman he has loved or desired and prefers instead his artificial re-creation of her. All four authors also portray the possibility that this simulacrum, which replaces the woman, could become real. The central chapters examine this plot and its meanings in multiple texts of each author (with the exception of the chapter on Villiers, in which only “L’Eve future” is considered). The premise is that this shared scenario stems from the discovery in the nineteenth century that humans are transformable. Because scientific innovations play a major part in this discovery, Dorothy Kelly reviews some of the contributing trends that attracted one or more of the authors: mesmerism, dissection, transformism, and evolution, new understandings of human reproduction, spontaneous generation, puericulture, the experimental method. These ideas and practices provided the novelists with a scientific context in which controlling, changing, and creating human bodies became imaginable. At the same time, these authors explore the ways in which not only bodies but also identity can be made. In close readings, Kelly shows how these narratives reveal that linguistic and coded social structures shape human identity. Furthermore, through the representation of the power of language to do that shaping, the authors envision that their own texts would perform that function. The symbol of the reconstruction of woman thus embodies the fantasy and desire that their novels could create or transform both reality and their readers in quite literal ways. Through literary analyses, we can deduce from the texts just why this artificial creation is a woman.

The story of southern writing—the Dixie Limited, if you will—runs along an iron path: an official narrative of a literature about community, about place and the past, about miscegenation, white patriarchy, and the epic of race. Patricia Yaeger dynamites the rails, providing an entirely new set of categories through which to understand southern literature and culture. For Yaeger, works by black and white southern women writers reveal a shared obsession with monstrosity and the grotesque and with the strange zones of contact between black and white, such as the daily trauma of underpaid labor and the workings of racial and gender politics in the unnoticed yet all too familiar everyday. Yaeger also excavates a southern fascination with dirt—who owns it, who cleans it, and whose bodies are buried in it. Yaeger's brilliant, theoretically informed readings of Zora Neale Hurston, Harper Lee, Carson McCullers, Toni Morrison, Flannery O'Connor, Alice Walker, and Eudora Welty (among many others) explode the mystifications of southern literary tradition and forge a new path for southern studies. The book won the Barbara Perkins and George Perkins Award given by the Society for the Study of Narrative Literature.

The effects of World War II on women's sense of themselves forms the basis of this exploration of the interaction between cultural representations of men and women in World War II, and women's own narratives of their wartime lives.