Showing titles in Women

The Latin term for the female genitalia, pudendum, means “parts for which you should be ashamed”. Until 1651, ovaries were called female testicles. The fallopian tubes are named for a man. Named, claimed, and shamed: Welcome to the story of the female body, as penned by men. Today, a new generation of (mostly) women scientists is finally redrawing the map. With modern tools and fresh perspectives, they’re looking at the organs traditionally bound up in reproduction—the uterus, ovaries, vagina—and seeing within them a new biology of change and resilience.

On March 25, 1942, nearly a thousand young, unmarried Jewish women boarded a train in Poprad, Slovakia. Filled with a sense of adventure and national pride, they left their parents' homes wearing their best clothes and confidently waving good-bye. Believing they were going to work in a factory for a few months, they were eager to report for government service. Instead, the young women - many of them teenagers - were sent to Auschwitz.

This is a neglected history. Not a sweeping, definitive, exhaustive history of the world but something quieter, more intimate and particular. A single journey, picked out in 101 objects, through the fascinating, too-often-overlooked, manifold histories of women. Through the variety and nuance in all these objects, Annabelle Hirsch has created a new history – teeming, unexpected, witty and always illuminating.

From Normandy to the Caribbean Islands, this innovative biographical pursuit follows Adèle Hugo on her reckless journey of unrequited love – and the writer who chased after her more than 150 years later. In Pursuit of Love is part memoir and part travelogue, as well as an invigorating new approach to the writing of biography.

The story of the family who rose from the Frankfurt ghetto to become synonymous with wealth and power has been much mythologised. Yet half the Rothschilds, the women, remain virtually unknown. Natalie Livingstone follows the extraordinary lives of the English branch of the Rothschild women from the dawn of the 19th century to the early years of the 21st.

Until the 20th century, art history was, in the main, written by white, western men who tended to write about other white, western men. The idea that women in the West have always made art was rarely cited as a possibility. Yet, they have - and, of course, continue to do so - often against tremendous odds, from laws to religion and the pressures of family and public disapproval. Feminism has shaken up the story of art and, for the first time, cast light on the often-brilliant work by women artists who were often ignored, patronised or marginalised.

It is 1940, and the Final Solution is about to begin. The Nazis have occupied The Netherlands, but resistance is growing and two Jewish sisters - Janny and Lien Brilleslijper - are risking their lives to save those being hunted, through their clandestine safehouse 'The High Nest'. It becomes one of the most important safehouses in the country, but when the house and its occupants are betrayed, the most terrifying time of the sisters' lives begins. This is the beginning of the end. 

Mary, Queen of Scots continues to intrigue both historians and the general public - but the story of her mother, Marie de Guise, is much less well known. A political power in her own right, she was born into the powerful and ambitious Lorraine family, spending her formative years at the dazzling, licentious court of François I. Although briefly courted by Henry VIII, she instead married his nephew, James V of Scotland, in 1538. 

Anne Boleyn has mesmerised the English public for centuries. Her tragic execution, orchestrated by her own husband, never ceases to intrigue. How did this courtier's daughter become the queen of England, and what was it that really tore apart this illustrious marriage, making her the whore of England, an abandoned woman executed on the scaffold? While many stories of Anne Boleyn's downfall have been told, few have truly traced the origins of her tragic fate.

Extraordinary women have held positions of power throughout history. But, aside from the select few, why do we not hear about them? The middle ages are seen as a bloodthirsty time of Vikings, Saints and Kings: a patriarchal society that oppressed and excluded women. But by digging a little deeper into the truth, drawing on evidence from all disciplines, we can see that the 'dark' ages were anything but. BBC historian Janina Ramirez has uncovered countless influential women's names struck out of historical records, with the word femina annotated beside them.

We fantasise about what we would do if we inherited a fortune: the house on Cheyne Walk? The Manolo Blahniks? The racehorses? But what would it be like, never to have to dream in that way? Laura Thompson explores the historical phenomenon of the heiress in four inviting categories. 

"You will be a son, my daughter." With these stunning words Ukmina learned that she was to spend her childhood as a boy. In Afghanistan there is a widespread practice of girls dressing as boys to play the role of a son. These children are called bacha posh: literally "girls dressed as boys." This practice offers families the freedom to allow their child to shop and work - and in some cases, it saves them from the disgrace of not having a male heir. But in adolescence, religion restores the natural law.

How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway? Guided by Katy Hessel, art historian and founder of @thegreatwomenartists, discover the glittering paintings by Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century United States, and the artist who really invented the "readymade." Explore the Dutch Golden Age, the astonishing work of postwar artists in Latin America, and the women defining art in the 2020s.

Figuring explores the complexities of love and the human search for truth and meaning through the interconnected lives of several historical figures across four centuries. Stretching between these figures is a cast of artists, writers, and scientists - mostly women, mostly queer - whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience and appreciate the universe.

Polly, Annie, Elizabeth, Catherine and Mary-Jane are famous for the same thing, though they never met. They came from Fleet Street, Knightsbridge, Wolverhampton, Sweden and Wales. They wrote ballads, ran coffeehouses and lived on country estates; they breathed ink dust from printing presses and escaped people traffickers. What they had in common was the year of their murders: 1888. The person responsible was never identified, but the character created by the press to fill that gap has become far more famous than any of these five women. 

Ranging from the age of slavery to contemporary injustices, this groundbreaking history of race, gender and class inequality by the radical political activist Angela Davis offers an alternative view of female struggles for liberation. Tracing the intertwined histories of the abolitionist and women's suffrage movements, Davis examines the racism and class prejudice inherent in so much of white feminism, and in doing so brings to light new pioneering heroines, from field slaves to mill workers, who fought back and refused to accept the lives into which they were born.

We now live in a new age of beauty. With advancements in cosmetic surgery, accessible tweakments, augmented reality face filters, photo editing apps, and exposure to more images than we were ever meant to see, we have the ability to craft ourselves in whichever way we please. We pinch, pull, squeeze, tweeze, smooth and slice ourselves beyond recognition. But is modern beauty culture truly empowering? Are we really in control?

The incredible account of Sister Betty Jeffrey OAM and the Australian war nurses who survived the bombing of evacuation ship SS Vyner Brooke in February 1942, and subsequently spent three years in Japanese prison camps in Sumatra. During those perilous years surviving in squalid conditions, Sister Jeffrey kept a secret diary of day-to-day events which, after the war, was turned into a hugely successful book and radio serial: White Coolies. Sisters in Captivity builds on those diaries.

In How to Think Like a Woman, Penaluna blends memoir, biography, and criticism to tell the stories of four women, weaving throughout an alternative history of philosophy. Funny, honest, and wickedly intelligent, this is a moving meditation on what philosophy could look like if women were treated equally.

At her execution Mary, Queen of Scots wore red. Widely known as the colour of strength and passion, it was in fact worn by Mary as the Catholic symbol of martyrdom. In 16th-century Europe, women's voices were suppressed and silenced. Even for a queen like Mary, her prime duty was to bear sons. In an age when textiles expressed power, Mary exploited them to emphasise her female agency.