The Female Body,Work, and Reproduction in Deland,Cather, and Dreiser

After the turn of the century and in large part motivated by the Suffragist movement, women in America were working both to support families at home and for surplus spending money, as Nan Enstad documents. Census reports from the time reveal women working at everything from menial labor to banking and canalboat captaining (Albertine 240-49). Correspondingly, the popular literature of the early twentieth century tells the stories of working- class women in which work, instead of men, becomes the seductive force from which young women must be rescued (Hapke 6). In spite of the popularity of these dime-novels, contemporaneous works like Margaret Deland's The Iron Woman (1911) and Willa Cather's O Pioneers! (1913) also exist that show working women as executing important leadership work, instead of factory work or domestic labor, that was not typically assigned to women at the time. Furthermore, in going beyond the common turn-of-the-century tale of the oppressed factory girl, these works instead show an important and unique relationship between women and work that has yet to be considered by scholars of American literature.     

Equality and Sharing: Views of Household Across the Iron Curtain

Before they reunified, the two Germanies provided a natural experiment in whether law could rectify what many have seen as injustice between men and women in the household. East German legislation mandated that equal hours of housework be contributed by husband and wife, while West Germany allowed the couple to reach any arrangement they chose. This paper explores the predicted and actual consequence of the two regimes for labor force participation, divorce, and equality within marriages.     

Film Policy in the United Kingdom: New Labour at the Movies

The article summarises key aspects of government intervention in the British film industry since the election of a Labour government in 1997. The process of amalgamating a variety of existing institutions (including British Screen, the British Film Commission and the Arts Council's Lottery Film Department) into the new UK Film Council is described and the implications for developments in the English regions is considered. The issue of the continuing American dominance of the industry is explored and this is related to the contentious concept of an economically 'sustainable' domestic industry. In conclusion it is proposed that more careful attention be given to the cultural and educational implications of current policy.