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oapen-20.500.12657-875412024-03-28T14:03:14Z Women Making History Allen, Julia M. Cohen, Jocelyn H. Postcard, feminism, women, second-wave, memory, letterpress, gender, history, conference, Women’s Liberation Movement, movement, Art, Program, female, aesthetic, womyn, first-wave, intersectionality, accessible, nonprofits, publishing, papermaking, handmade paper, Judy Chicago, Miriam Shapiro, Arlene Raven, Harlem Renaissance, Helen Nearing, Scott Nearing, Michigan Women’s Music Festival, Postal, rhetoric, multimodal, business, Lesbian, culture, labor, suffrage, votes, African American women, Latin American, Latinas, Chicanas, Black, Native, Jewish, disabilities, printers, Chandler & Price, printshop, small press, subsistence living, back to the land movement, bookstore, publisher, collecting, broadside, bookplate, self-sufficiency, political action, social change, craftswomen, craftswimmin, collaboration, protests, demonstrations, fine printing, ephemera, memorabilia, Ruth Iskin, Berkshire, Rosie the Riveter, Seneca Falls, Women’s Rights National Historical Park, Rosie the Riveter National Historical Park, Helen Alm, consciousness, collective memory, public memory, Gestetner, Rotaprint, Sheila de Bretteville, cultural work, Chicago, social, equality, systemic inequalities, sexism, HERstory, identity, cross dressing, coming out, photographs, photography, racism, Chicano Studies thema EDItEUR::N History and Archaeology::NH History thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTB Social and cultural history Nourished by the cultural exuberance of second wave feminism, Helaine Victoria Press was a home-grown effort of two young women, Jocelyn Cohen and Nancy Poore, who learned how to print, established a printshop, and became the first publishers of women’s history postcards. The authors of Women Making History demonstrate that by creating postcards, Helaine Victoria Press aimed to do more than provide a convenient writing surface or even affect collective memory. Instead, they argue, the press generated feminist memory. The cards, each with the picture of a woman or group of women from history, were multimodal. Pictures were framed in colors and borders appropriate to the era and subject. Lengthy captions offered details about the lives of the women pictured. Unlike other memorials, the cards were mobile: they traveled through the postal system, viewed along the way by the purchasers, mail sorters, mail carriers, and recipients. Upon arriving at their destinations, cards were often posted on office bulletin boards or refrigerators at home, where surroundings shaped their meanings. This is the first book to demonstrate the relationships between the feminist art movement, the women in print movement, and the scholars studying women’s history. Readers will be drawn to both the large quantity of illustrative materials and the theoretical framework of the book, as it provides an expanded understanding of rhetorical multimodality. 2024-02-06T12:47:55Z 2024-02-06T12:47:55Z 2023 book 9781643150352 https://library.oapen.org/handle/20.500.12657/87541 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781643150369.pdf Lever Press 10.3998/mpub.12737267 10.3998/mpub.12737267 ef2222a7-42fd-4619-af89-7b20915b4b05 9781643150352 480 open access
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Nourished by the cultural exuberance of second wave feminism, Helaine Victoria Press was a home-grown effort of two young women, Jocelyn Cohen and Nancy Poore, who learned how to print, established a printshop, and became the first publishers of women’s history postcards. The authors of Women Making History demonstrate that by creating postcards, Helaine Victoria Press aimed to do more than provide a convenient writing surface or even affect collective memory. Instead, they argue, the press generated feminist memory. The cards, each with the picture of a woman or group of women from history, were multimodal. Pictures were framed in colors and borders appropriate to the era and subject. Lengthy captions offered details about the lives of the women pictured. Unlike other memorials, the cards were mobile: they traveled through the postal system, viewed along the way by the purchasers, mail sorters, mail carriers, and recipients. Upon arriving at their destinations, cards were often posted on office bulletin boards or refrigerators at home, where surroundings shaped their meanings.
This is the first book to demonstrate the relationships between the feminist art movement, the women in print movement, and the scholars studying women’s history. Readers will be drawn to both the large quantity of illustrative materials and the theoretical framework of the book, as it provides an expanded understanding of rhetorical multimodality.
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