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Sexual harassment is an issue in which feminists are usually thought to be on the plaintiff's side. But in 1993—amid considerable attention from the national academic community—Jane Gallop, a prominent feminist professor of literature, was accused of sexual harassment by two of her women graduate students. In Feminist Accused of Sexual Harassment, Gallop tells the story of how and why she was charged with sexual harassment and what resulted from the accusations. Weaving together memoir and theoretical reflections, Gallop uses her dramatic personal experience to offer a vivid analysis of current trends in sexual harassment policy and to pose difficult questions regarding teaching and sex, feminism and knowledge. Comparing \"still new\" feminism—as she first encountered it in the early 1970s—with the more established academic discipline that women's studies has become, Gallop makes a case for the intertwining of learning and pleasure. Refusing to acquiesce to an imperative of silence that surrounds such issues, Gallop acknowledges—and describes—her experiences with the eroticism of learning and teaching. She argues that antiharassment activism has turned away from the feminism that created it and suggests that accusations of harassment are taking aim at the inherent sexuality of professional and pedagogic activity rather than indicting discrimination based on gender—that antiharassment has been transformed into a sensationalist campaign against sexuality itself. Feminist Accused of Sexual Harassment offers a direct and challenging perspective on the complex and charged issues surrounding the intersection of politics, sexuality, feminism, and power. Gallop's story and her characteristically bold way of telling it will be compelling reading for anyone interested in these issues and particularly to anyone interested in the ways they pertain to the university.

Inhalt: Buck's \"social\" view of ethics and rhetoric - Progressive education, feminism, and the Detroit normal training school - The \"advance\" toward democratic administration - The suffrage movement and Buck's approach to argument and debate - The little theater movement and Buck's democratized view of drama - Socially conscious women teaching writing.

Viola Florence Barnes was one of the most prominent women historians in the United States from the 1920s to the 1950s. Born in 1885, Barnes was educated at Yale University and began teaching at Mount Holyoke College in 1919. She was an instrumental member of the 'imperial school' of historians, who interpreted North American colonial history within a British imperial framework. Specializing in New England and Canada's Maritime provinces, her best-known book was The Dominion of New England , published in 1923. In this probing biography, John G. Reid examines Barnes's life as a female historian, providing a revealing glimpse into the gendered experience of professional academia in that era. Reid also examines the imperial school, which, although rapidly losing favour by the 1950s, had yielded results that were crucial to the study of North American colonial history. Viola Florence Barnes was cited as one of 100 'outstanding career women' in the United States in 1940. The later years of her life were marked by difficulty and disillusionment, as she tried in vain to have her last book published. Yet, despite retiring in 1952, Barnes remained an active scholar almost to the time of her death in 1979. This exhaustive work is the first biography of Barnes – a major figure in the study of North American history.

“A name creates life patterns,” Allison Adelle Hedge Coke writes, “which form and shape a life; my life, like my name, must have been formed many times over then handed to me to realize.” Rock, Ghost, Willow, Deer is Hedge Coke’s narrative of that realization, the award-winning poet and writer’s searching account of her life as a mixed-blood woman coming of age off-reservation, yet deeply immersed in her Cherokee and Huron heritage. In a style at once elliptical and achingly clear, Hedge Coke describes her schizophrenic mother and the abuse that often overshadowed her childhood; the torments visited upon her, the rape and physical violence; and those she inflicted on herself, the alcohol and drug abuse. Yet she managed to survive with her dreams and her will, her sense of wonder and promise undiminished. The title Rock, Ghost, Willow, Deer refers to the life-revelations that brought Hedge Coke through her trials, the melding of language and experience that has brought order to her life. In this book, Hedge Coke shares the insights she has gathered along the way, insights that touch on broader Native issues such as modern life in the diaspora; the threat of alcohol, drug abuse, and violence; and the ongoing onslaught on self amid a complex, mixed heritage.

Northern Arizona's Mountain Living Book of the Year Gold Medalist, 2014 Independent Publisher Book Awards in the Autobiography/Memoir III (Personal Struggle / Health Issues) category Finalist for the 2013 May Sarton Memoir Award presented by the Story Circle Network Award-Winning Finalist in the Autobiography/Memoirs category of The 2013 USA Best Book Awards, sponsored by USA Book News2013 In College Girl, a university professor revisits the memory of a brutal sexual assault and recounts her long, circuitous route from trauma to recovery. Offering present-day reflections alongside the fresh, hopeful voice of the twenty-year-old student she once was, Laura Gray-Rosendale tells the story of her near destruction and her family's disintegration, but also one of abiding friendships and shining hope. In the end, College Girl is also a story about stories, and a meditation on memoir itself. Gray-Rosendale writes in a tone that is simply unforgettable—gritty, humorous, and raw. Artfully written and devoid of self-pity, College Girl is a rich story of triumph, hope, and survival.

Best known as the writer who introduced French existentialism to English-speaking readers through her translation of Sartre's Being and Nothingness, Hazel E. Barnes has written an autobiography that is both the success story of a professional woman as well as a profoundly moving reflection on growing older. Transcending the personal details of her life, Barnes' memoir stands as an important contribution to the intellectual history of our century.

Best known as the writer who introduced French existentialism to English-speaking readers through her translation of Sartre's Being and Nothingness, Hazel E. Barnes has written an autobiography that is both the success story of a professional woman as well as a profoundly moving reflection on growing older. Transcending the personal details of her life, Barnes' memoir stands as an important contribution to the intellectual history of our century.