The Times in its editorial of 11 February 1857 opined 'It is a terrible incident of our social existence that the resources for gaining a livelihood left open to women are so few. ...
In The Origin of the Family, Private Property and the State (1884), Friedrich Engels posited a fundamental relationship between women’s property rights, on the one hand, and changes in the social and political spheres, on the other.
The Caversham Project has been a long-running and detailed historical investigation of work and community, social structure, class and gender in the southern suburbs of Dunedin, New Zealand. With a strong, indeed rigorous, quantitative basis the project has generated an impressive list of books, essays and working papers over the last 20 years.
Both the problematic discourses of ‘professional/amateur’ and ‘public/private spheres’, and also the multifaceted hierarchies between the fine and the applied arts, have received substantial academic enquiry in the last thirty years. This is particularly true for the art historians researching the cultural activities of middle-class women in 19th-century Britain.
Amy Froide’s book is an excellent addition to the work on early modern women done by researchers such as Amy Louise Erickson. In fact, it was Amy Erickson who first drew my attention to this book even before I was asked to review it. It does not disappoint. Amy Erickson, Ann Carlos, Larry Neal, Anne Murphy and others have shown that women were a part of the Financial Revolution.
It is an ambitious book that would try to cover the Conquest of Mexico, the rise and fall of the country’s hacienda system, the emergence of the Virgen de Guadalupe, the intricacies of Emiliano Zapata’s role in the Mexican Revolution, and the exodus of women from rural regions in the mid-1960s to look for work as ‘household help’ in the nation’s fast-growing capital city.