A Handbook of Literary Feminisms brings together for the first time two distinct threads of literary feminism: literary history and feminist criticism and theory. The first section of the book offers a history of women's contributions to Anglo-American literature over the past 500 years. It charts the social, cultural, and historical conditions that both shaped women's writing and prevented it from being recognized or valued by literary history. The second section provides an explanation and analysis of trends in feminist criticism and theory, focusing on how feminist approaches to women's texts have incorporated theoretical investigations of sexuality, subjectivity, and ideology. A Handbook of Literary Feminisms addresses the following questions: * Why do women write? * What is the range of women writers' subject matter and themes? * What genres have women chosen to write in and why? * How are female characters presented in women's texts? * What innovations in form and style have women contributed to literature? * How have women's texts been received by readers? * How have the processes of publication affected women's writing? * How has the process of canonization shaped the literary history of women? * How have women writers responded to literature written by women? * How did women's literature affect history and culture, including feminism? Supplemented by a time line, a glossary of key terms, and bibliographies of primary and secondary sources, A Handbook of Literary Feminisms explores what women's writing means today and has meant over the centuries. An indispensable resource, it is an ideal text for courses in women's studies, women's literature, feminist studies, and gender studies.

A Handbook of Literary Feminisms

Literature & Fiction

Ferriss, Suzanne

Benstock, Shari

Woods, Susanne

British & Irish

Oxford University Press

Until recently, fashion was considered the "F-word" in intellectual circles, dismissed as unworthy of serious attention. Yet no area of life, no individual moment, stands outside fashion's discourses. Intuitively, we all know that clothing is a language, incessantly communicating messages about its wearer. But who speaks this language, to whom is it addressed, what does it mean, and how are its meanings established and transformed? On Fashion explores the ways our material, political, psychological, sexual, even intellectual lives are woven into fashion's fabric. 
 This stimulating collection of essays explores fashion's symbolic and figurative functions in photography, cinema, and video; in consumerism, postmodernism, and feminism; in political and material culture; and in self-definition and subjectivity. They demonstrate the pervasive reach of fashion and its expressions. 
 This collection contains over sixty photographs and illustrations and includes essays by Barbara Brodman, Mary Ann Caws, Linda Benn DeLibero, Hlne Cixous, Diana Fuss, Cheryl Herr, Karla Jay, Deborah Jenson, Douglas Kellner, Ingeborg Majer O'Sickey, Leslie W. Rabine, Andrew Ross, Sonia Rykiel, Carol Shloss, Kaja Silverman, Maureen Turim, and Iris Marion Young.

On Fashion

Rutgers University Press

The Cinema of Sofia Coppola: Fashion, Culture, Celebrity (BFI Film Classics)

About the Author\nSuzanne Ferriss is Professor Emeritus at Nova Southeastern University, USA. She has published extensively on fashion, film and cultural studies, co-editing Chick Flicks: Contemporary Women at the Movies (2008), Footnotes: On Shoes(2001) and On Fashion (1994), among other titles. She has also co-authored An Alternative History of Bicycles and Motorcycles (2016) and Motorcycle (2008).\nThe Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola's oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola's films, exploring fashion's primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola's own director-star persona, and argues that Coppola's auteur status rests on an original and distinct visual style, derived from the filmmaker's complex engagement with photography and painting.\nFerriss analyzes each of Coppola's six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters' identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola's engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.

Biographies & Memoirs

Arts & Literature

Bloomsbury Academic

The Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola's oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola's films, exploring fashion's primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola's own director-star persona, and argues that Coppola's auteur status rests on an original and distinct visual style, derived from the filmmaker's complex engagement with photography and painting.Ferriss analyzes each of Coppola's six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters' identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola's engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.

An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture accounts for the nineteenth-century creation and development of two-wheeled vehicles, both human-powered and motorized. Specifically, the book focuses on the period from 1885 (which saw the appearance, simultaneously, of the Safety bicycle and the Einspur, the first motorcycle) to 1920, while exploring implications for later bicycling and motorcycling. We argue that invention of these vehicles, rather than the product of gifted individuals, should be seen as the consequence of a number of historical, economic, cultural and political forces that intersect so unpredictably that the notion of a genius inventor is reductive. The common evolutionary model of development from the bicycle to the motorcycle oversimplifies both the technology and its origins. Stripping the vehicles of all their material and cultural associations, such a model fails to advance our understanding of the devices, their creators, and their riders. Taking a contemporary vehicle and tracing its lineage creates a false sense of evolutionary necessity in its creation, and fails to account for the many possible developmental paths that were, for whatever reason, abandoned. By contrast, our book adopts a material culture approach, a form of inquiry that stresses the connections between artifacts and social relations. We consider not simply the bicycle and motorcycle as material objects but focus also on the complex socio-political and economic convergences that produced the materials, materials that in turn themselves shaped the vehicles’ appearance, function, and adoption by riders.

An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture

Engineering & Transportation

Alford, Steven E.

Automotive

Lexington Books

An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture accounts for the nineteenth-century creation and development of two-wheeled vehicles, both human-powered and motorized. Specifically, the book focuses on the period from 1885 (which saw the appearance, simultaneously, of the Safety bicycle and the Einspur, the first motorcycle) to 1920, while exploring implications for later bicycling and motorcycling. We argue that invention of these vehicles, rather than the product of gifted individuals, should be seen as the consequence of a number of historical, economic, cultural and political forces that intersect so unpredictably that the notion of a genius inventor is reductive. The common evolutionary model of development from the bicycle to the motorcycle oversimplifies both the technology and its origins. Stripping the vehicles of all their material and cultural associations, such a model fails to advance our understanding of the devices, their creators, and their riders. Taking a contemporary vehicle and tracing its lineage creates a false sense of evolutionary necessity in its creation, and fails to account for the many possible developmental paths that were, for whatever reason, abandoned. By contrast, our book adopts a material culture approach, a form of inquiry that stresses the connections between artifacts and social relations. We consider not simply the bicycle and motorcycle as material objects but focus also on the complex socio-political and economic convergences that produced the materials, materials that in turn themselves shaped the vehicles’ appearance, function, and adoption by riders.

Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant - emotionally and spatially - from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate.\nIn this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation's structuring device of travel: her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too.

Lost in Translation (BFI Film Classics)

Humor & Entertainment

Movies

British Film Institute

Easy Rider. Motocross Grand Prix. James Dean in Rebel Without a Cause. The motorcycle is a global icon of untamed freedom, symbolizing a daring and reckless lifestyle of adventure. Yet there are few books that chronicle how and when this legendary vehicle roared down the open road. Motorcycle explores the roots of the rebel’s ultimate ride. After early incarnations as a nineteenth-century steam-powered bicycle and multi-wheeled vehicles, the modern motorcycle came into its own as a cheap, mobile military asset during World War I. From there, it rapidly spread through modern culture as a symbol of rebellion and subversive power, and Motorcycle tracks the symbolic role that the bike has played in literature, art, and film. The authors also investigate the international subcultures that revolve around the motorcycle and scooter. They chart the emergence of American biker culture in the 1950s, when decommissioned fighter pilots sought new ways to satiate their desire for thrill and danger, and explore how the motorcycle came to represent the untamed nonconformity of the American West. In contrast, smaller scooters such as the Vespa and moped became the utilitarian vehicle of choice in space-starved metropolises across Europe and Asia. Ultimately, the authors argue, the motorbike is the exemplary Modernist object, dependent on the perfect balance of man and machine. An unprecedented and wholly engrossing account, Motorcycle is an essential reading for the Harley-Davidson roadhog, bike collector, or anyone who’s felt the power of the unmistakable king of the road.

Motorcycle (Objekt)

Reaktion Books

See the best price to sell, buy, or rent books by Ferriss, Suzanne. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Ferriss, Suzanne

See the best price to sell, buy, or rent books by Ferriss, Suzanne. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

A Handbook of Literary Feminisms

On Fashion

The Cinema of Sofia Coppola: Fashion, Culture, Celebrity (BFI Film Classics)

The Cinema of Sofia Coppola: Fashion, Culture, Celebrity (BFI Film Classics)

An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture

An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture

Lost in Translation (BFI Film Classics)

Motorcycle (Objekt)