Have you ever wondered why girls are so mean?

Two women. One war. For Viola Baxter, 1939 was supposed to be a wonderful year. After meeting and falling in love with dashing Fred Scholz at Cambridge University, they planned to marry and start their new lives together. She never imagined her father would say no to the marriage. Fred is half-German and, with war fast approaching, he must travel to Germany to bring his sister home. But that journey is enough for others to suspect him... and Viola. When Annie Scholz heard her beloved grandmother was seriously ill, she wasted no time rushing to Germany to be by her side. She didn't realise it meant she would not be able to return home to the UK, or that her decision would endanger her brother, Fred, as well. Even reuniting with her childhood beau is bittersweet – how can she love someone who stands for everything she opposes? With everyone watching Annie and Fred so closely, there is no room for error... or dangerous resistance. With war the only certainty, there's just one thing in question: where do Viola and Annie's loyalties lie? Women at War is the thrilling and heart-wrenching new WW2 story from Jan Casey, author of The Women of Waterloo Bridge. What readers are saying about Women at War: '[A] captivating, heart wrenching saga... I adamantly recommend' - 5* reader review 'A story of courage and hope' - 5* reader review 'I love this book... This book drew me in straight away and I just wanted to keep on reading until I finished it. A lovely story' - 5* reader review 'Poignant, warm, gut wrenching and hopeful, this book is just beautiful. I stayed riveted the entire time and could not put it down' - 5* reader review 'The book is full of fervor and the characters grow from beginning to end! I could not put the book down!' - 5* reader review

There are few moments in history when the division between the sexes seems as "natural" as during wartime: men go off to the "war front," while women stay behind on the "home front." But the very notion of the home front was an invention of the First Worl

At War with Women reveals how post-9/11 politics of gender and development have transformed US military power. In the mid-2000s, the US military used development as a weapon as it revived counterinsurgency in Iraq and Afghanistan. The military assembled all-female teams to reach households and wage war through development projects in the battle for "hearts and minds." Despite women technically being banned from ground combat units, the all-female teams were drawn into combat nonetheless. Based on ethnographic fieldwork observing military trainings, this book challenges liberal feminist narratives that justified the Afghanistan War in the name of women's rights and celebrated women's integration into combat as a victory for gender equality. Jennifer Greenburg critically interrogates a new imperial feminism and its central role in securing US hegemony. Women's incorporation into combat through emotional labor has reinforced gender stereotypes, with counterinsurgency framing female soldiers as global ambassadors for women's rights. This book provides an analysis of US imperialism that keeps the present in tension with the past, clarifying where colonial ideologies of race, gender, and sexuality have resurfaced and how they are changing today.

Twenty-three countries currently allow women to serve in front-line combat positions and others with a high likelihood of direct enemy contact. This book examines how these decisions did or did not evolve in 47 countries. This timely and fascinating book explores how different countries have determined to allow women in the military to take on combat roles—whether out of a need for personnel, a desire for the military to reflect the values of the society, or the opinion that women improve military effectiveness—or, in contrast, have disallowed such a move on behalf of the state. In addition, many countries have insurgent or dissident factions, in that have led armed resistance to state authority in which women have been present, requiring national militaries and peacekeepers to engage them, incorporate them, or disarm and deradicalize them. This country-by country analysis of the role of women in conflicts includes insightful essays on such countries as Afghanistan, China, Germany, Iraq, Israel, Russia, and the United States. Each essay provides important background information to help readers to understand the cultural and political contexts in which women have been integrated into their countries' militaries, have engaged in combat during the course of conflict, and have come to positions of political power that affect military decisions.

This book examines what happens to women and gender relations in times of upheaval. The experience of Norway during World War II, with some visits to other parts of the world as well, is used to demonstrate general, gendered issues that are actualized in wars both past and present. The authors explore whether gendered cultural conceptions influence the way war is remembered and represented, both collectively and individually. The collection discusses the various roles of women during the war from resistance fighter to `German tart’ and how they were dealt with and treated in the aftermath. The chapters examine the position of Jewish victims of persecution, foreign female labourers and gay men, as well as the gendered response exhibited by the courts in post-war trials of female state police employees. The book concludes by following the struggle to bring women’s role in war and peacebuilding onto the international agenda. This book will be of interest to students and scholars in the field of criminology, as well as peace and conflict studies, political science, sociology of law, history, social work, social pedagogy, psychology and gender studies.

Milwaukeeans greeted the advent of World War II with the same determination as other Americans. Everyone felt the effect of the war, whether through concern for loved ones in danger, longer work hours, consumer shortages, or participation in war service organizations and drives. Men and women workers produced the essential goods necessary for victory—the vehicles, weapons, munitions, and components for all the machinery of war. But even in wartime there were labor conflicts, fueled by the sacrifices and tensions of wartime life. A City at War focuses on the experience of working men and women in a community that was not a wartime boom town. It looks at the stands of the CIO and the AFL against low wartime wages, and at women in unionized factories facing the perceptions and goals of male workers, union leaders, and society itself. Here is a social history of wartime Milwaukee and its workers as they laid the groundwork for a secure postwar future.

War has been depicted in cinema for more than a century, from early silent films to more recent blockbusters such as Saving Private Ryan and Lone Survivor. Most war films, especially combat films, are about men engaged in battle. But while Hollywood has reinforced the cultural stereotype of war as a man’s job, women have not been completely invisible in many of these films, whether waiting for their men to return home or standing shoulder to shoulder with their male counterparts on the battlefield. In Women in War Films: From Helpless Heroine to G.I. Jane, Ralph Donald and Karen MacDonald examine the representations of females in war throughout the history of film. They identify various types of women portrayed in these films, from home-front wives and daughters supporting their loved ones from afar to nurses and doctors stationed near the front lines of combat. The authors also look at depictions of foreign females who comfort homesick soldiers, ordinary women who unexpectedly encounter the enemy, female spies, and modern enlistees taking on roles traditionally reserved for men. Through these representations, the authors explore what war films say about the culture that created them and the social construction of reality that these films assert. The book covers an array of war films distributed in the United States, including Hearts of the World, Wings, Mata Hari, Mrs. Miniver, Casablanca, Cry “Havoc,”Since You Went Away, The Best Years of Our Lives, From Here to Eternity, The Americanization of Emily, M*A*S*H, Coming Home, Courage under Fire, G.I. Jane, and Zero Dark Thirty. Featuring an extensive filmography, Women in War Films will appeal to scholars of gender studies, history, and film, as well as to readers interested in the evolving portrayals of females in military-related cinema.

In Women and War in Roman Epic, Elina Pyy discusses the narrative and ideological functions of gender in the works of Virgil, Lucan, Statius, Silius Italicus and Valerius Flaccus. By examining the themes of violence, death, guilt, grief, and anger in their epics, she offers an account of the intertextual tradition of the genre and its socio-political background. Through a combination of classical narratology and Julia Kristeva’s subjectivity theory, Pyy scrutinises how gendered marginality is constructed in the genre and how it contributes to the fashioning of Roman imperial identity. Focusing on the ambiguous elements of epic, the study looks beyond the binary oppositions between the Self and the Other, male and female, and Roman and barbarian.