In this richly detailed and imaginatively researched study, Victoria Bynum investigates "unruly" women in central North Carolina before and during the Civil War. Analyzing the complex and interrelated impact of gender, race, class, and region on the lives of black and white women, she shows how their diverse experiences and behavior reflected and influenced the changing social order and political economy of the state and region. Her work expands our knowledge of black and white women by studying them outside the plantation setting. Bynum searched local and state court records, public documents, and manuscript collections to locate and document the lives of these otherwise ordinary, obscure women. Some appeared in court as abused, sometimes abusive, wives, as victims and sometimes perpetrators of violent assaults, or as participants in ilicit, interracial relationships. During the Civil War, women freqently were cited for theft, trespassing, or rioting, usually in an effort to gain goods made scarce by war. Some women were charged with harboring evaders or deserters of the Confederacy, an act that reflected their conviction that the Confederacy was destroying them. These politically powerless unruly women threatened to disrupt the underlying social structure of the Old South, which depended on the services and cooperation of all women. Bynum examines the effects of women's social and sexual behavior on the dominant society and shows the ways in which power flowed between private and public spheres. Whether wives or unmarried, enslaved or free, women were active agents of the society's ordering and dissolution.

In the first in-depth study of the interconnected relationships among public theatre, custodial institutions, and women in early modern Spain, Margaret E. Boyle explores the contradictory practices of rehabilitation enacted by women both on and off stage. Pairing historical narratives and archival records with canonical and non-canonical theatrical representations of women's deviance and rehabilitation, Unruly Women argues that women's performances of penitence and punishment should be considered a significant factor in early modern Spanish life. Boyle considers both real-life sites of rehabilitation for women in seventeenth-century Madrid, including a jail and a magdalen house, and women onstage, where she identifies three distinct representations of female deviance: the widow, the vixen, and the murderess. Unruly Women explores these archetypal figures in order to demonstrate the ways a variety of playwrights comment on women's non-normative relationships to the topics of marriage, sex, and violence.

Winner of the VanCity Book Prize, Unruly Women: The Politics of Confinement & Resistance is the seminal book about women’s imprisonment that helped spark examinations around the world into the special circumstances women face in prison, as well as the sex and gender crimes that get them there. Most women who are incarcerated do not pose a danger to society but transgress patriarchal, capitalist norms that seek to control their bodies and choices, as seen in the case of prostitution and prosecutions of pregnant women for risky behaviors. Further, the majority of women who enter the criminal justice system have been victims of violence, which raises questions about the continuum from victimization to criminalization. Unruly Women explores patterns of female crimes and punishments, from the witch hunts to the present; institutionalized violence and sexual abuse against incarcerated women; women loving women in prison; motherhood inside prison; battered woman syndrome; Hollywood’s formulaic women-in-prison films; political education in prisons; and acts of resistance, inside and out. Karlene Faith challenges misconceptions of "deviant" women, and celebrates the unruly woman: the unmanageable woman who claims her own body, and who cannot be silenced. As the "drug war" wages on, riddled with excessive and inequitable prison sentences; the incarcerated population skyrockets toward 2.5 million (up from less than 200,000 nationwide in 1970); and private prisons burgeon around the coasts, now is a critical moment to educate ourselves about what is at stake with our prison system. Faith’s incisive work causes us to question the usefulness of the forced confinement and surveillance of mostly nonviolent people.

In this vividly written and amply illustrated book, Gay L. Gullickson analyzes the representations of women who were part of the insurrection known as the Paris Commune. The uprising and its bloody suppression by the French army is still one of the most hotly debated episodes in modern history. Especially controversial was the role played by women, whose prominent place among the Communards shocked many commentators and spawned the legend of the pétroleuses, women who were accused of burning the city during the battle that ended the Commune. In the midst of the turmoil that shook Paris, the media distinguished women for their cruelty and rage. The Paris-Journal, for example, raved: "Madness seems to possess them; one sees them, their hair down like furies, throwing boiling oil, furniture, paving stones, on the soldiers." Gullickson explores the significance of the images created by journalists, memoirists, and political commentators, and elaborated by latter-day historians and political thinkers. The pétroleuse is the most notorious figure to emerge from the Commune, but the literature depicts the Communardes in other guises, too: the innocent victim, the scandalous orator, the Amazon warrior, and the ministering angel, among others. Gullickson argues that these caricatures played an important role in conveying and evoking moral condemnation of the Commune. More important, they reveal the gender conceptualizations that structured, limited, and assigned meaning to women as political actors for the balance of the nineteenth and well into the twentieth century.

"Drawing upon Michel Foucault's accounts of governmentality and neoliberalism, liberal feminist and colonial "civilizing" narratives, and tacit juridical racial dismissal toward visibly Muslim women, this book explores the neocolonial and racial-cultural aesthetics of power as directed toward women of color and Black women. Even as neocolonialism incorporates without acknowledgment the anti-Blackness and settler-colonial roots of its past, along with an anti-immigrationist sentiment--it does not do so overtly. Rather it does so through a range of biopolitical, ontopolitical, and globalizing neoliberal economic norms. Focusing on the discrimination claims of Muslim women, this study examines juridical and political approaches that dismiss Muslim women and other populations of color as culturally backward, misguided in their thinking, and gratuitously nonconformist. Likewise, it analyses the experience of excruciation undergone by the addressees of racial dismissal. Excruciation names the phenomena by which vulnerable populations are pressed into hopeless performances of cultural assimiliation. Racial dismissal is excavated through legal opinions, court transcripts, and other encounters between Muslim women and the state. This work finds that the racial address of dismissal and the phenomena of excruciation have been pivotal to a liberal juridical order that otherwise claims neutrality. By concentrating on the treatment of Muslim women, this book uncovers dynamics of social and racial division which have inhabited and bolstered liberal legal neutrality from its inception. This book's framework, while focusing on Muslim women in the U.S., is a template for understanding how exclusion is juridically implemented for other racialized and marginalized populations"--

Publisher Description

This collection attends to western women's struggles within Roman Catholicism by examining how women throughout the centuries have attempted to reconcile their unruliness with their Catholic backgrounds or conversions.

Unruly women have been making a spectacle of themselves in film and on television from Mae West to Roseanne Arnold. In this groundbreaking work, Kathleen Rowe explores how the unruly woman—often a voluptuous, noisy, joke-making rebel or "woman on top"—uses humor and excess to undermine patriarchal norms and authority. At the heart of the book are detailed analyses of two highly successful unruly women—the comedian Roseanne Arnold and the Muppet Miss Piggy. Putting these two figures in a deeper cultural perspective, Rowe also examines the evolution of romantic film comedy from the classical Hollywood period to the present, showing how the comedic roles of actresses such as Katharine Hepburn, Barbara Stanwyck, and Marilyn Monroe offered an alternative, empowered image of women that differed sharply from the "suffering heroine" portrayed in classical melodramas.

Ziegler, Dolan, and Roberts' "attention is directed specifically to the representations of Shakespeare's women in the Victorian era, rather than on the Elizabethan stage ... [They have] culled from the [Folger] Library's vast holdings a remarkably varied and illuminating array of books, manuscripts, and illustrations which provide a new understanding of how Shakespeare's heroines came to embody, reflect, and refract the values and assumptions of nineteenth-century English society."--Foreword, p.7.