Jennifer Robertson

For the woman who desires to be seen for who she truly is before the world told her who she should be.With raw and empowering honesty, ten courageous woman have come together with one mission: to help women heal the shame that has lived within their body and change the conversation for our daughters and generations to come.Prepare to laugh, to cry, to feel seen and validated as you, too, traverse the path of healing and take the pilgrimage of coming home; to you, all of you.This book has been divinely created: from the sacred art to the brave writing, every chapter concludes with nourishing and reflective exercises and blank journaling pages for you to dive deeper and heal your heart out, right alongside us.Dare to pick up the brush of remembering.We are, you are: Becoming Whole Again.

"A wise woman wishes to be no one's enemy; a wise woman refuses to be anyone's victim." Maya AngelouHere you will find stories from brave and wise women who have found their voices so they could speak up for themselves, speak up for the ones they love, and fight for what they wanted and needed in their lives. They are women like all of us, who are trying to live their best lives for themselves and their loved ones.These 14 incredible women have come together, writing their personal stories releasing themselves from their past, and encouraging others in similar situations to do the same. Their lives took them on journeys that compelled them to look deep inside themselves and discover who they are as women in the world. And most importantly, to accept themselves.They write about mental illness, sexual assault, death, dreams and goals, addictions, children, traveling to faraway places, and acceptance of the choices they have made in their lives. The stories are fascinating They are proud of who they have become-describing themselves as powerful, assertive, yet compassionate and vulnerable. Each is unique, and there is such beauty in their souls.They simply are women like me and you, like all of us, sharing their stories with the world in the hope of inspiring other women to want to live their best lives. They are Women Like Me.This is book 3 in the popular series, WOMEN LIKE ME.

Japan is arguably the first postindustrial society to embrace the prospect of human-robot coexistence. Over the past decade, Japanese humanoid robots designed for use in homes, hospitals, offices, and schools have become celebrated in the mass media and social media throughout the world. In Robo sapiens japanicus, Jennifer Robertson casts a critical eye on press releases and public relations videos that misrepresent actual robots as being as versatile and agile as their science fiction counterparts. An ethnography and sociocultural history of governmental and academic discourses of human-robot relations in Japan, this book explores how actual robots-humanoids, androids, animaloids-are "imagineered" in ways that reinforce the conventional sex/gender system and political-economic status quo. In addition, Robertson interrogates the notion of human exceptionalism as she considers whether "civil rights" should be granted to robots. Similarly, she juxtaposes how robots and robotic exoskeletons reinforce a conception of the "normal" body with a deconstruction of the much-invoked Theory of the Uncanny Valley.

Japan is arguably the first postindustrial society to embrace the prospect of human-robot coexistence. Over the past decade, Japanese humanoid robots designed for use in homes, hospitals, offices, and schools have become celebrated in the mass media and social media throughout the world. In Robo sapiens japanicus, Jennifer Robertson casts a critical eye on press releases and public relations videos that misrepresent actual robots as being as versatile and agile as their science fiction counterparts. An ethnography and sociocultural history of governmental and academic discourses of human-robot relations in Japan, this book explores how actual robots-humanoids, androids, animaloids-are "imagineered" in ways that reinforce the conventional sex/gender system and political-economic status quo. In addition, Robertson interrogates the notion of human exceptionalism as she considers whether "civil rights" should be granted to robots. Similarly, she juxtaposes how robots and robotic exoskeletons reinforce a conception of the "normal" body with a deconstruction of the much-invoked Theory of the Uncanny Valley.

Award-winning Yorkshire photographers Jennifer Robertson and Lynne Fletcher are not only hugely talented, they are also warm, witty and genuine. In fact we can't imagine anyone else who could have inspired so many of the county's most high-profile exports to give up their time to be photographed and to talk about their love of their home county. This unique book celebrates the inspirational Yorkshire men and women who are the best in their chosen field - actors, politicians, athletes, writers, musicians, historians, educators and medics. From the giants of entertainment to sporting heroes bringing home Olympic Gold, these photographs tell of Yorkshire grown achievement and success, on the national and international stage. What comes across most powerfully is that no matter how far Yorkshire men and women go, in distance or stardom, from the place of their birth, they are forever shaped by it, regularly return, and are intensely proud to belong.

The all-female Takarazuka Revue is world-famous today for its rococo musical productions, including gender-bending love stories, torridly romantic liaisons in foreign settings, and fanatically devoted fans. But that is only a small part of its complicated and complicit performance history. In this sophisticated and historically grounded analysis, anthropologist Jennifer Robertson draws from over a decade of fieldwork and archival research to explore how the Revue illuminates discourses of sexual politics, nationalism, imperialism, and popular culture in twentieth-century Japan. The Revue was founded in 1913 as a novel counterpart to the all-male Kabuki theater. Tracing the contradictory meanings of Takarazuka productions over time, with special attention to the World War II period, Robertson illuminates the intricate web of relationships among managers, directors, actors, fans, and social critics, whose clashes and compromises textured the theater and the wider society in colorful and complex ways. Using Takarazuka as a key to understanding the 'logic' of everyday life in Japan and placing the Revue squarely in its own social, historical, and cultural context, she challenges both the stereotypes of 'the Japanese' and the Eurocentric notions of gender performance and sexuality.

This expertly crafted ethnography examines the ways in which native and new citizens of Kodaira, a Tokyo suburb, have both remade the past and imagined the future of their city in a quest for an "authentic" Japanese community.