Cunningham Memorial Library’s Events Area is usually the venue for the annual Women’s History Month Colloquium (from Gender Studies and other sponsors) and the Library shares photos of those events. With this year’s virtual Colloquium, Marsha Miller, Research and Instruction Librarian and member of the Library’s Marketingteam, was able to attend all but one of the events and did screen-grabs to represent and record the event for posterity. Those, along with some of the graphic announcements, are shared here. Don’t forget to check out the 4 blog entries on Women and American Health Policy.
note: Dalton Veach did not present
Via Zoomchat,Marsha Miller contributed the titles of books related to the film and the discussion, available in the ISU Library:
e-book: The technology of orgasm : “hysteria,” the vibrator, and women’s sexual satisfaction 
A natural history of sex : the ecology and evolution of mating behavior – print QL761 .F67 2001
ebook: Regulating desire : from the virtuous maiden to the purity princess
Browsing Collection (1st Floor) Sex and the constitution : sex, religion, and law from America’s origins to the twenty-first century
ebook: Sexuality and slavery: reclaiming intimate histories in the Americas
ebook: Sexual intimacy for women : a guide for same-sex couples
The joy of gay sex HQ76 .S533 2006
available at Vigo County Public Library: The clitoral truth : about pleasure, orgasm, female ejaculation, the G-spot, and masturbation
All events are in either the Library Events Area or Room 028 (Lower Level). All are free and open to the public. In addition to programming, the Library Events area has an art show, display of library materials, display of American Association of University Women materials including membership info for ISU undergrads [free] and others, information on Gender Studies and lots more!
Plot summary fromIMDB: It’s 1896. Yankel Bogovnik, a Russian Jew, emigrated to the United States three years earlier and has settled where many of his background have, namely on Hester Street on the Lower East Side of New York City. He has assimilated to American life, having learned English, anglicized his name to Jake, and shaved off his beard. He is working at a $12/week job as a seamster, the money earned to be able to bring his wife Gitl and his son Yossele to America from Russia. Regardless, he has fallen in love with another woman, a dancer named Mamie Fein. Nonetheless, he is excited when he learns that Gitl and Yossele are indeed coming to America. His happiness at their arrival is dampened when he sees that Gitl is not “American” looking like Mamie and has troubles assimilating as quickly as he would like. Except to Mamie, he tries to show a public façade that everything is fine at home with Gitl. But can their marriage survive these differences, and if not, will Gitl be able to manage in this new land where she has few supports?
While in the US, the women’s suffrage movement was percolating along to its 1920 conclusion, the movement in Great Britain was also making strides. Several early 20th century Americans, including Alice Paul, journeyed to England to watch, learn, and participate. The film takes place in pre-first world war London.
Excerpt from one UK reviewer:
Reuniting with Brick Lane director Sarah Gavron, [scriptwriter] Abi Morgan intertwines socioeconomic detail with domestic melodrama as Maud leads us from the fringes of the fight to the firing line, her composite character providing a thumbnail sketch of collective oppression into which Mulligan breathes admirable individuality. Meryl Streep provides a fleetingly aloof cameo as Emmeline Pankhurst, rallying the troops from the balcony before disappearing into the night, but the real firebrand is Helena Bonham Carter as chemist Edith Ellyn, who provides the movement’s combustible spark.
Steamy sweatshops and grey-tinged London vistas add production design grit, evoking a world in which backbreaking work and strength-sapping silence are equally stifling. This is an important story and Suffragette tells it without stylistic fuss or frills in solidly down-the-line fashion.