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  In the 19th and early 20th centuries, the majority of women were forced to seek their education outside the walls of American universities. Many turned to museums and libraries, for their own enlightenment, for formal education, and also for their careers. In Roffman’s close readings of four modernist writers—Edith Wharton, Nella Larsen, Marianne Moore, and Ruth Benedict—she studied the that modernist women writers were simultaneously critical of and shaped by these institutions.   From the Modernist Annex offers new and critically significant ways of understanding these writers and their texts, the distribution of knowledge, and the complicated place of women in modernist institutions.

The Color of Successtells of the astonishing transformation of Asians in the United States from the \"yellow peril\" to \"model minorities\"--peoples distinct from the white majority but lauded as well-assimilated, upwardly mobile, and exemplars of traditional family values--in the middle decades of the twentieth century. As Ellen Wu shows, liberals argued for the acceptance of these immigrant communities into the national fold, charging that the failure of America to live in accordance with its democratic ideals endangered the country's aspirations to world leadership. Weaving together myriad perspectives, Wu provides an unprecedented view of racial reform and the contradictions of national belonging in the civil rights era. She highlights the contests for power and authority within Japanese and Chinese America alongside the designs of those external to these populations, including government officials, social scientists, journalists, and others. And she demonstrates that the invention of the model minority took place in multiple arenas, such as battles over zoot suiters leaving wartime internment camps, the juvenile delinquency panic of the 1950s, Hawaii statehood, and the African American freedom movement. Together, these illuminate the impact of foreign relations on the domestic racial order and how the nation accepted Asians as legitimate citizens while continuing to perceive them as indelible outsiders. By charting the emergence of the model minority stereotype,The Color of Successreveals that this far-reaching, politically charged process continues to have profound implications for how Americans understand race, opportunity, and nationhood.

What does it mean to turn the public library or museum into a civic forum?Made in Newarkdescribes a turbulent industrial city at the dawn of the twentieth century and the ways it inspired the library's outspoken director, John Cotton Dana, to collaborate with industrialists, social workers, educators, and New Women.This is the story of experimental exhibitions in the library and the founding of the Newark Museum Associationùa project in which cultural literacy was intertwined with civics and consumption. Local artisans demonstrated crafts, connecting the cultural institution to the department store, school, and factory, all of which invoked the ideal of municipal patriotism. Today, as cultural institutions reappraise their relevance,Made in Newarkexplores precedents for contemporary debates over the ways the library and museum engage communities, define heritage in a multicultural era, and add value to the economy.

In 1500, as many as 99 out of 100 English women may have been illiterate, and girls of all social backgrounds were the objects of purposeful efforts to restrict their access to full literacy. Three centuries later, more than half of all English and Anglo-American women could read, and the female reader was emerging as a cultural ideal and a market force. While scholars have written extensively about women's reading in the nineteenth and twentieth centuries and about women's writing in the early modern period, they have not attended sufficiently to the critical transformation that took place as female readers and their reading assumed significant cultural and economic power. Reading Womenbrings into conversation the latest scholarship by early modernists and early Americanists on the role of gender in the production and consumption of texts during this expansion of female readership. Drawing together historians and literary scholars, the essays share a concern with local specificity and material culture. Removing women from the historically inaccurate frame of exclusively solitary, silent reading, the authors collectively return their subjects to the activities that so often coincided with reading: shopping, sewing, talking, writing, performing, and collecting. With chapters on samplers, storytelling, testimony, and translation, the volume expands notions of reading and literacy, and it insists upon a rich and varied narrative that crosses disciplinary boundaries and national borders.

This memorial to composer and Charming Hostess band founder Jewlia Eisenberg explores the queer erotics of “Agadelkha,” a musical setting of a piyut by Abraham ibn Ezra and part of Eisenberg's larger “queer piyut,” project.

The Kheel Center for Labor-Management Documentation and Archives at Cornell University has a distinguished history in collecting the materials related to unions, with particular strengths in the area of textile and garment manufacturing. It was fitting, therefore, that when the American Textile History Museum (ATHM) closed its doors in 2016, the Kheel Center acquired the bulk of the library and archives as well as many fabric samples. This article explores the ATHM’s mission to tell “America’s story through the art, science, and history of textiles” and how by bringing these collections to Cornell we can expand that story. Today, the global textile and garment industries employ an estimated forty to eighty million people, yet very few Americans understand the impact that it has on the lives of the people who make their clothes and on the earth’s fragile ecosystem. By combining emerging technology with expanding collecting areas and engaging new audiences with these incredible foundational materials, the Kheel Center can build more representative and discoverable collections upon ATHM’s enduring legacy.

Iris Barry (1895–1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's \"foreignness\" and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century.

In April 2018, the top international governing body for the sport of track and field-the International Association of Athletics Federations (IAAF)-released regulations aimed at limiting the participation of some female athletes competing at the international level in middle-distance running events. The Eligibility Regulations for Female Classification specifically target women with certain differences of sex development (DSDs) and with naturally occurring testosterone levels that exceed those of most other female athletes. To be eligible to compete, such female athletes must lower their testosterone with medication or surgery. This IAAF mandate, which requires unproven medical interventions in otherwise healthy individuals, has prompted considerable debate. Biological sex is far more complicated than junior high school biology might suggest. Although most men have 46 XY chromosomes and most women have 46 XX chromosomes, biological science today recognizes that there are also 46 XX males and 46 XY females. The IAAF regulations apply only to female athletes with 46 XY sex chromosomes with certain DSDs and who compete in women's running events of distances between 400 meters and one mile. The approach taken by the IAAF to developing its latest version of female eligibility regulation is contorted and confusing. Earlier regulations released in 2011 focused on all women with high testosterone. These rules were suspended by the Court of Arbitration for Sport (CAS) in 2015, following a challenge by the Indian sprinter Dutee Chand, due to a lack of evidence on the relationship between naturally occurring testosterone and in-competition performance.

Here is this week’s news of grants or gifts to historically Black colleges and universities or for programs of particular interest to African Americans in higher education.

Here is this week’s news of grants or gifts to historically Black colleges and universities or for programs of particular interest to African Americans in higher education.