Replete with madwomen, murderers, musicians, and mystics, "Lonely Woman" dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness.".

Drawing on interviews with women and men musicians, this study examines women's overrepresentation in an instrumental specialty, the electric bass, in alternative rock music. Structurally, this phenomenon may be explained by the instrument's greater ease of learning and lesser attractiveness to men, yet women bassists frequently advance an alternative theory of “womanly” affinity. The entrance of women into rock bands via the bass may provide them with new opportunities and help legitimate their presence in a male-dominated site of artistic production, (...) yet it may simultaneously work to reconstruct a gendered division of labor and reproduce dominant gender ideologies. (shrink)

Distinctive features of culture industries suggest that women culture workers face formidable barriers to career advancement. Using longitudinal data on the careers of screenwriters, we examine gender inequality in the labor market for writers of feature films. We hypothesize and test three different models of labor market dynamics and find support for a model of cumulative disadvantage whereby the gender gap in earnings grows as men and women move through their careers. We suggest that the transition of screenwriting from a (...) mixed to a male-dominated occupation parallels the “empty field” phenomenon described in a study by Tuchman of nineteenth-century novelists. The institutionalization of male dominance of the film industry in the 1930s and the typecasting of women writers has had a lasting impact on gender inequality, which shows little change through the early 1990s. (shrink)

"It was high time that someone tried to explain more fully, and on the basis of the known documents, the course of Beethoven's meteoric rise to fame in Vienna at the end of the eighteenth century.... I would consider this cleverly written and authoritative book to be the most important about Beethoven in twenty-five years. No one considering the subject will be able to overlook DeNora's research."--H.C. Robbins Landon, author of "Beethoven: His Life, Work, and World" "This is a study (...) with the power to reshape our perceptions of Beethoven's first decade in Vienna and substantially refine our notions of the creation and foundations of Beethoven's career."--William Meredith, Ira Brilliant Center for Beethoven Studies, San Jose State University "Professor DeNora's achievement in placing Beethoven, and the reception of Beethoven's music, in social context is all the more impressive because it goes so much against the grain of conventional habits of thought. In illuminating how changing social institutions created opportunities for Beethoven to gain contemporary and posthumous recognition, and, in so doing, created new forms for thinking and talking about musical achievement--the author at once provides fresh insights into the institutional origins of 'classical' music and offers an exemplary contribution to the sociological study of the arts."--Paul DiMaggio, Princeton University "An important landmark in our understanding of the relationship of the creative musician to society, and a vital contribution to debates about the central phenomenon which distinguishes Western music from other musical traditions: the phenomenon of the Great Composer."--Julian Rushton, University of Leeds "This original book argues that Beethoven's high reputation was created as much by the social-cultural agendas of his aristocratic Viennese patrons in the 1790s as by the qualities of his music. DeNora's persuasive reading of this momentous cultural-artistic event will be welcome to sociologists for its successful contextualization of a hero of 'absolute music, ' as well as to musicologists and music-lovers who wish to move beyond the myth of Beethoven as 'the man who freed music.'"--James Webster, Cornell University "Lucid, well-researched, and theoretically informed, "Beethoven and the Construction of Genius" is one of the best works yet published in the historical sociology of culture. DeNora makes important contributions not only to our knowledge of Beethoven and of the social construction of genius but to the general problems of how identities are created, shaped, and sustained and of how aesthetic claims gain authority."--Craig Calhoun, University of North Carolina. (shrink)

Based on four years of participant-observation field research and focused interviews with men and women child care workers, the author analyzes how the marking of men workers and their experiences doing child care work show how deeply feminized the work of child care is. When men choose to do child care work, they become suspect. This suspicion manifests in restriction of men's access to children in child care centers. Restricted access of men workers to children implies men's desire for access (...) to children is pathological. In these and other ways, the organization of child care and the accountability of persons to sex category systematically push men away from nurturing responsibilities and bind these responsibilities to women workers. (shrink)

Wikipedia: In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation (...) of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural".[2] In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question 'Why have there been no great women artists?' is based; by questioning the validity of the formulation of so-called problems in general and the 'problem' of women specifically; and then, by probing some of the limitations of the discipline of art history itself.". (shrink)

In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at (...) the same time lays bare its conceptual smugness, its meta-historical naïveté. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations. (shrink)