Drawing upon psychological paradigms, Professor Painter examines the history of child and sexual abuse within American slave society by employing the concept of soul murder.

This outstanding collection of fifteen original essays represents innovative work by some of the most influential scholars in the field of women's history. Covering a broad sweep of history from colonial to contemporary times and ranging over the fields of legal, social, political, and cultural history, this book, according to its editors, 'intrudes into regions of the American historical narrative from which women have been excluded or in which gender relations were not thought to play a part.' State formation, power, and knowledge have not traditionally been understood as the subjects of women's history, but they are the themes that permeate this book. Individually and together, the essays explore how gender serves to legitimize particular constructions of power and knowledge and to meld these into accepted practice and state policy. They show how the field of women's history has moved from the discovery of women to an evaluation of social processes and institutions. The book is dedicated to pioneering women's historian Gerda Lerner, whose work inspired so many of the contributors, and it includes a bibliography of her works. from the book The contributors to this volume grew up into a world in which history was rigidly limited. It paid little attention to social relationships, to issues of race, to the concerns of the poor, and virtually none to women. Women figured in it for their ritual status, as wives of presidents like Abigail Adams or Dolly Madison; for their role as spoilers, from the witches of Salem to Mary Todd Lincoln, or for their sacrificial caregiving, like Clara Barton or Dorothea Dix. Even when women like Sojourner Truth, Jane Addams, and Eleanor Roosevelt were named by historians, the radical substance of their work and their lives was routinely ignored. A very few historians of women--Eleanor Flexner, Julia Cherry Spruill, Caroline Ware--worked on the margins of the profession, their contributions unappreciated, and their writing vulnerable to the charge of irrelevance. Contents Part 1. State Formation Linda K. Kerber on women and the obligations of citizenship Kathryn Kish Sklar on two political cultures in the Progressive Era Linda Gordon on women, maternalism, and welfare in the twentieth century Alice Kessler-Harris on the Social Security Amendments of 1939 Nancy F. Cott on marriage and the public order in the late nineteenth century Part 2. Power Nell Irvin Painter on 'soul murder' as a legacy of slavery Judith Walzer Leavitt on Typhoid Mary and early twentieth-century public health Estelle B. Freedman on women's institutions and the career of Miriam Van Waters William H. Chafe on how the personal translates into the political in the careers of Eleanor Roosevelt and Allard Lowenstein Jane Sherron De Hart on women, politics, and power in the contemporary United States Part 3. Knowledge Barbara Sicherman on reading Little Women Joyce Antler on the Emma Lazarus Federation's efforts to promulgate women's history Amy Swerdlow on Left-feminist peace politics in the cold war Ruth Rosen on the origins of contemporary American feminism among daughters of the fifties Darlene Clark Hine on the making of Black Women in America: An Historical Encyclopedia

This work reaches across the colour line to examine how race, gender, class and individual subjectivity shaped the lives of black and white women in the 19th- and 20th-century American South.

What was it like to be a slave in colonial South Africa? What difference did freedom make? John Edwin Mason presents complex answers after delving into the slaves' experience within the slaveholding patriarchal household, primarily during the period from1820 to 1850.

According to Hebrews, the Son of God appeared to "break the power of him who holds the power of death--that is, the devil--and free those who all their lives were held in slavery by their fear of death." What does it mean to be enslaved, all our lives, to the fear of death? And why is this fear described as "the power of the devil"? And most importantly, how are we--as individuals and as faith communities--to be set free from this slavery to death?In another creative interdisciplinary fusion, Richard Beck blends Eastern Orthodox perspectives, biblical text, existential psychology, and contemporary theology to describe our slavery to the fear of death, a slavery rooted in the basic anxieties of self-preservation and the neurotic anxieties at the root of our self-esteem. Driven by anxiety--enslaved to the fear of death--we are revealed to be morally and spiritually vulnerable as "the sting of death is sin." Beck argues that in the face of this predicament, resurrection is experienced as liberation from the slavery of death in the martyrological, eccentric, cruciform, and communal capacity to overcome fear in living fully and sacrificially for others.

The color line, once all too solid in southern public life, still exists in the study of southern history. As distinguished historian Nell Irvin Painter notes, historians often still write about the South as though people of different races occupied entirely different spheres. In truth, although blacks and whites were expected to remain in their assigned places in the southern social hierarchy throughout the nineteenth and much of the twentieth century, their lives were thoroughly entangled. In this powerful collection, Painter reaches across the color line to examine how race, gender, class, and individual subjectivity shaped the lives of black and white women and men in the nineteenth- and twentieth-century South. Through six essays, she explores such themes as interracial sex, white supremacy, and the physical and psychological violence of slavery, using insights gleaned from psychology and feminist social science as well as social, cultural, and intellectual history. At once pioneering and reflective, the book illustrates both the breadth of Painter's interests and the originality of her intellectual contributions. It will inspire and guide a new generation of historians who take her goal of transcending the color bar as their own.

Blending a vivid narrative with more than 150 images of artwork, Painter offers a history--from before slavery to today's hip-hop culture--written for a new generation.