Historian
She wrote the book, In Therapy We Trust, a focused history of psychotherapy in popular U.S. culture that argued for moving away from self-centered therapy and toward addressing larger social problems ("we must remain critical of a therapeutics that easily displaces real solutions to pressing social problems."). As a historian, Moskowitz, according to Jesse Eisinger, identified "three tenets: happiness is the supreme goal, problems stem from psychological causes, and those psychological problems are treatable" and labeled this set "the therapeutic gospel, a doctrine so ingrained in American society that few of us consciously recognize it".
She directed and produced a documentary (1997) on post-World War II women's roles. The video Some Spirit in Me (VHS 1993), authored, produced, and directed by Moskowitz, showed how the women's movement in the 1960s–1970s affected "an African-American editor at a high-profile financial magazine, a Jewish housewife, and a Hispanic social worker", among others, as women's roles were changing from those of the 1950s.
She wrote a scholarly study of Betty Friedan's work, one of only a few. It was cited as a "note" study by Deborah Siegel.
She protested a store sign that said that unattended children will be sold as slaves, apparently resulting in the sign's removal.
Read more about this topic: Eva Moskowitz
Famous quotes containing the word historian:
“Events in the past may be roughly divided into those which probably never happened and those which do not matter. This is what makes the trade of historian so attractive.”
—W.R. (William Ralph)
“It is said that a carpenter building a summer hotel here ... declared that one very clear day he picked out a ship coming into Portland Harbor and could distinctly see that its cargo was West Indian rum. A county historian avers that it was probably an optical delusion, the result of looking so often through a glass in common use in those days.”
—For the State of New Hampshire, U.S. public relief program (1935-1943)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)