This well-illustrated collection uses new and interdisciplinary approaches in gender history to explore violence as a form of gendered embodiment across place and time, from the medieval world to the twenty-first century.
Uses new and interdisciplinary approaches in gender history.
Considers the issues across time, from the classical world to the twenty-first century.
Covers a wide range of locations, including Africa, China, Europe, India, Latin America, the Middle East, and Russia.
Academically and theoretically innovative.
Includes work by authors from different countries and different disciplines.
Helps readers to understand violence both as a diagnostic for deeper, more complex historical structures, and as a performative act that can be read symptomatically.
About the Author
Shani D'Cruze is Reader in Gender History at Manchester Metropolitan University. She was co-editor of the journal Gender and History between 2000 and 2004. Her main publications are on the nineteenth- and twentieth-century social and cultural history of violence, crime and gender and the gender history of the nineteenth-century family.
Anupama Rao is Assistant Professor of South Asian History at Barnard College, Columbia University. Her interests are in Indian nationalism; anti-caste struggles; caste, gender and the family form in nineteenth- and twentieth-century western India; historical anthropology; the anthropology of violence; human rights and feminist and critical theory.
Features
This well-illustrated collection explores violence as a form of gendered embodiment across place and time.
Uses new and interdisciplinary approaches in gender history.
Considers the issues across time, from the classical world to the twenty-first century.
Covers a wide range of locations, including Africa, China, Europe, India, Latin America, the Middle East, and Russia.
Academically and theoretically innovative.
Includes work by authors from different countries and different disciplines.
Helps readers to understand violence both as a diagnostic for deeper, more complex historical structures, and as a performative act that can be read symptomatically.
