In lieu of an abstract, here is a brief excerpt of the content:Art as a Political Act:Expression of Cultural Identity, Self-Identity, and Gender by Suk Nam Yun and Yong Soon MinHwa Young Choi Caruso (bio)IntroductionA number of artists of color, including Asian American women, are creating art from the basis of their lived experiences. Within minority groups searching for their cultural identity, establishing self-identity is an important process. For various psychological and sociological reasons, artists seem (...) inspired to seek deeper meaning and a broader participation in cultural work.1 Asian American women artists, in particular, are currently making art as a means of exploring self-identity, cultural identity, and gender issues. Korean/Korean American minority women artists are creating art as a reaction to their cultural upbringing, which questions issues of identity, gender, ethnicity, politics, cultural, and socioeconomic status. These contemporary artists are breaking away from traditional cultural expectations and overcoming social barriers as artists, women, and Koreans/Korean Americans. With the growing public awareness of women's consciousness and sense of self as women in Korea and as an ethnic minority in America, these artists are redefining their identity. Despite the traditional patriarchal Confucian hierarchy; lack of social, institutional, and political support; and stereotypic gender, cultural, and socioeconomic status expectations for women, a few have stepped out of their traditional roles as women and have become successful artists in Korea and America.The artworks of these artists are worthy of investigation because they appear to be a culturally, socially, and politically motivated artistic expression of the complex multifaceted Korean/Korean American life experiences as women and as Korean immigrant members of a cultural (ethnic) minority in American society. Therefore, two main research questions can be posed: [End Page 71]• Given that art can be constructed out of layers of different experiences and influences, to what extent do the dimensions of cultural identity, self-identity, and gender interweave and contribute to the function of art as a political act for Korean/Korean American women artists?• How do Korean/Korean American cultural, social, and female experiences influence the artistic expression of Korean/Korean American women artists?In order to answer these questions, I selected case study methodology2 and adapted elements of interpretive biography,3 and narrative approaches as developed by Wallace and Gruber.4 According to Denzin,5 interpretive biography involves the collection and analysis of personal experiences, life documents, stories, accounts, and narratives that describe turning-point moments in individuals' lives. Denzin argues that personal experiences and personal stories are derived from a larger cultural, ideological, and historical context. The intent of the biographical project is to problematize the social, economic, cultural, structural, and historical forces that shape, distort, and otherwise alter lived experiences.By using narrative case study methods, I explore elements of self-identity formation, cultural identity, gender issues, personal thoughts, artistic expression, meaning of artworks, professional achievement, and life circumstances. I examine each participant's life in the Korean and American historical, cultural, social, and political environments. I interpret participants' outer lives (what they do) and inner lives (feelings, thoughts, inner self) to capture their deep, profound life experiences. I examine salient themes of their art expression and how the role of art and artistic activity is a part of political, cultural, social, and feminist activism. I further investigate their professional activities in order to identify the multiple roles that contribute to personal and professional identity formation.For the purpose of this study, I selected the contemporary Korean woman artist Suk Nam Yun and the contemporary Korean American woman artist Yong Soon Min as primary participants. These two women artists, despite many social and cultural barriers, chose to become artists; feminists; and social, cultural, and political activists; in addition to fulfilling traditional Korean family and domestic roles. Yun and Min are regarded as the leading contemporary Korean/Korean American women artists whose artworks deal with issues of cultural, social, feminist, political, and hybrid identity and art as political activism.Lippard acknowledges that visual images play an increasingly important role in society.6 Art that connects everyday experience with social critique and creative expression becomes a vital means of reflecting upon the nature of society and social existence.7 Artworks can function as... (shrink)

Enduring disparities in choice of college major constitute one of the most significant forms of gender inequality among undergraduate students. The existing literature generally equates major choice with career choice and overlooks possible variation across student populations. This is a significant limitation because gender differences in major choice among liberal arts students, who attend college less for specific career training and more for broader learning objectives, are just as great as among those choosing pre-professional majors. This study addresses (...) this gap by examining how privileged men and women at an elite, liberal arts university select their fields of study. Drawing on in-depth interviews, findings contradict the prevailing assumption of a unitary model of major choice as career choice by revealing a plurality of gendered meanings around choosing a field of study. Majors may play an important part in the construction of an intellectual identity as much as a means of career preparation. How students approach the choice relates to both gender and social background. For privileged students, traditional gendered associations with bodies of knowledge hold salience in their decision making as well as expectations of reproducing future elite family roles. This research also illuminates how gendered processes of choosing fields of study take place in relationship to particular institutional contexts. (shrink)

This edited volume takes a new look at an old question: what is the relationship between beauty and monstrosity? How has the notion of beauty transformed through the years and how does it coincide with monstrous ontologies? Contributors offer an interdisciplinary approach to how these two concepts are interlinked and emphasizes the ways the beautiful and the monstrous pervade human experience. The two notions are explored through the axis of human transformation, focusing on body, identity and gender, while (...) questioning both how humans transform their body and space as well as how humans themselves are gradually transformed in different contexts. The pandemic, gender crisis, moral crisis, sociocultural instability, and environmental issues have redefined beauty and the relationship we have with it. Exploring these concepts through the lens of human transformation can yield valuable insights into what it means to be human in a world of constant change. The book will be of interest to scholars working in art history, archaeology, philosophy, architecture, and cultural studies. (shrink)

ABSTRACT This essay analyses the visual representation of melancholy and related themes in the work of American artist Thomas Eakins (1844–1916). Its particular focus is Home Scene (1870–1871), an intimate portrait of two of the artist’s sisters in the parlour of their family home in Philadelphia. Through a close examination of Home Scene in relation to later portraits by and of the artist, my analysis sheds new light on how and why Eakins reshaped ideations of melancholy based in European art (...) and intellectual history within the context of nineteenth century American culture. While representing both the appearance and effects of melancholy in Home Scene and many other of his portraits, Eakins also constructed aspects of his own artistic identity in accordance with this theme. Analysing the ideas and practices that impacted these processes, this study shows how the artist’s life-long fascination with the intertwined subjects of melancholy, mental illness, and the trope of the misunderstood artist-genius informed his personal and professional lives as it intersected with prominent discourses on women, gender, and medicine in post-Civil War America. (shrink)

In African philosophical literature, and especially in Afro-communitarianism, there are discussions about the value of the relationship an individual has with her respective community. By community, reference is made to the metaphysical holistic view of community which includes all beings in nature. But since the article deals with gender, which is a social construction, most of the arguments appeal to a narrower version of community, that of human beings. Therefore, discussions about “value” refer to the value that is given (...) to the relationship that surpasses any individual value, and it applies or appeals to human beings. One implication of this understanding and the prioritisation of the relationship is that identity is something that is conferred by this sort of relationship. In this article, we argue that this way of understanding “identity” from an Afro-communitarian world view has something to offer in understanding or conceptualising gender(ed) identity(ies). The assumption is that gender identity will be understood as socially conferred and most importantly, one that takes community as essential. (shrink)

This cross-disciplinary collection of essays focuses on gender from multiple perspectives. The main themes include human rights, political economy, cultural diversity, democracy, immigration, dignity, care, and shifts in hegemonic male models of societies.

There has been little considered reflection by Catholic theologians on the concepts of gender identity, gender dysphoria and gender transition. Seeking inspiration in the Scriptures, some Catholic thinkers have interpreted the first three chapters of Genesis and especially the text ‘male and female he created them’ (Gen. 1:27) as requiring all human beings to live in the gender role congruent with their biological sex, and have viewed the biology of sex as self-evident. This article argues (...) that these chapters constitute an appropriate locus for reflection on theological anthropology but that they need to be taken together with other texts and especially with the explicit teaching of Jesus Christ. In the Gospel according to Matthew, the one occasion in which Jesus invokes this passage from Genesis is when he draws attention to exceptional examples in nature and, in a striking phrase, states that some ‘have made themselves eunuchs for the sake of the kingdom of heaven’ (Matt. 19:12). If the Genesis text is interpreted in the light of the words of Christ, the binary division of the sexes, while ordained by God and the basis for a vocation to marry and procreate, admits of exceptions both natural and supernatural. (shrink)

One of the most significant developments in the art world of the 1970s, 1980s, and 1990s has been the rise to prominence of art made by minority cultures. Race, Sex, and Gender examines the controversial challenges these groups present to today's artists and critics. Works by African-Americans, feminists, homosexuals, and Latino-Hispanics - once considered marginal - have come to transform contemporary art. As this so-called minority art has moved into a more dominant position, museums - once official symbols of (...) culture - have formed a more secure alliance with the avant-garde. The result is that "minority" art has become, in effect, our most major concern. In this provocative volume, art historian Edward Lucie-Smith seeks to determine how these different groups came to acclaim, and how they have revolutionized the kind of art shown in museums and galleries. Cindy Sherman, Robert Mapplethorpe, Jean-Michel Basquiat, Nancy Spero, Hannah Wilke, Larry Fuente, Cheri Samba, and Martin Puryear are among those artists whose work is pictured and discussed as Lucie-Smith probes issues of racial identity, sexual orientation, and gender politics. Statements from the artists as well as from theoreticians and critics are given, offering additional commentaries on these crucial new topics. Organized by profusely illustrated chapters devoted to specific minority groups, Race, Sex, and Gender is a timely introduction to the issues that are shaping contemporary art. (shrink)

Transgender legal protections have long been contentious issues, with courts often pathologizing or refusing recognition of transgender identities. Recently, however, courts adjudicating asylum claims have recognized “transgender” as a legitimate category of protection. I take this legal development as an opportunity to ask how courts determine if individuals are transgender. While previous work has shown how courts maintain the gender binary, asylum law offers the first chance to analyze how recognizing a distinct transgender category affects the legal gender (...) order and the classification of trans claimants. Drawing on court decisions, ethnographic observations, and interviews, I argue that the recognition of transgender as a category implicitly acknowledges the malleability of gender. Yet, the adjudication of transgender asylum cases continues to uphold a fixed and binary conception of gender by assuming a “born into the wrong body” narrative and that claimants should always already know their gender identities. Courts thus enforce a cis–trans binary wherein only certain claimants are found “trans enough.”. (shrink)

What do the terms sex and gender identity, or gender history, mean in a medical context? When does it matter to a healthcare professional whether a patient has male or female reproductive biology?...

This article deals with questions concerning the nature of representation of the female body within the so-called `oriental' discourse in Serbian art: Who is the painter? For whom is the work painted? With whom is the work identified? With what other possibilities of identification does the work leave us? In the context of the historical codes, a stance towards a body is seen as a projection of the social, cultural and power impulses. In the first case studied, the artist was (...) a male commissioned by the Serbian court to paint a series of paintings for the indigenous population and foreigners. In the second case, the artist was also male, a Serb working in Vienna, who painted for the audience of the `real Europe' from the position of an identity alteration. The third case focuses on a female artist, Babett Bachmayer Vukanovic, who was born in Germany but after marrying a Serb moved to her husband's homeland. Visual constructions of female bodies are used as the starting point for the deconstruction of ignored gender-related questions in analysing époque. (shrink)

This volume sets out to re-imagine the theoretical and epistemological presuppositions of existing scholarship on identities. Despite a well-established body of scholarly texts that examine the concept from a wide range of perspectives, there is a surprising dearth of work on multiple, heterogeneous forms of identity. Numerous studies of ethnic, linguistic, regional and religious identities have appeared, but largely in isolation from one another. Rethinking 'Identities' is a multi-authored project that is original in providing - in distributed and granular (...) mode - a hyper-contemporary and wide-ranging applied analysis that questions notions of identity based on nation and region, language, ethnicity, gender, sexuality, religion or even 'the human'. The volume achieves this by mobilizing various contexts of identity (gender, ethnicity, sexuality, nation) and medium (art, cinema, literature, music, theatre, video). Emphasizing the extreme contemporary (the twenty-first century) and the challenges posed by an increasingly global society, this collection of essays builds upon existing intellectual investigations of identity with the aim of offering a fresh perspective that transcends cognitive and geographical frontiers. (shrink)

This paper presents an interpretation of the 1945 forbidden film Scarlet Street in a way so as to touch the problem of gender in film noir. Firstly, I give an ac-count of film noir, agreeing with Robert Pippin’s argument concerning film genres. Then, I claim that time and repetition, irony and hierarchy, art and per-spective constitute the core subjects explored in Scarlet Street. Furthermore, I try to connect all the subjects into a single one. My point is to show (...) how art, perspective, time, repetition, irony and hierarchy are articulated in the main character’s gender identity. Finally, I suggest there is a deep connection be-tween the movie’s character constitution and Cavell’s understanding of gender and agency.Keywords: Film. Gender. Psychoanalysis. Cavell. Freud. (shrink)

The purpose of this article is to develop and illustrate an approach for making the commonplace visible in a natural, as opposed to manipulated, social setting. The key research task was to find a way of capturing the ongoing production or enactment of the self that provides some insight into the way in which it is produced in a routine, matter of fact way. The article takes a number of steps to develop a research approach to the task. First, (...) class='Hi'>gender-identity was selected as a more specific aspect of self-production. Second, the concept of "flashpoints" was used to refer to a particular moment in the routine which achieves some significance or salience as a result of the participants seizing upon some otherwise unremarkable action or statement and twisting it to their purpose. In this study, the purpose was gender-identity creation. Primary school children in the classroom and their teachers were the participants of the study. Through the use of flashpoints, the article demonstrates how gender-identity production of these children can be caught in flight. The article concludes that this approach can be added to the researcher's toolkit. (shrink)

Farah Nayeri addresses the difficult questions plaguing the art world, from the bad habits of Old Masters, to the current grappling with identity politics. For centuries, art censorship has been a top-down phenomenon--kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art. Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this (...) new world order, artists, critics, philanthropists, galleries and museums alike are recalibrating their efforts to increase the visibility of marginalized voices and respond to the people's demands for better ethics in art. But what should we, the people, do with this newfound power? With exclusive interviews with Nan Goldin, Sam Durant, Faith Ringgold, and others, Nayeri tackles wide-ranging issues including sex, religion, gender, ethics, animal rights, and race. By asking and answering questions such as: Who gets to make art and who owns it? How do we correct the inequities of the past? What does authenticity, exploitation, and appropriation mean in art?, Takedown provides the necessary tools to navigate the art world"--Publisher's description. (shrink)

There is evidence of widespread concern over the challenge to aesthetic theorizing posed by the introduction of elements of randomness or chance into the structuring of art works. Prompted by a share in that concern I want to consider two distinct though related issues. Although I shall be primarily concerned with these issues as they arise in musical aesthetics and music theory, much of what emerges could, without excessive remodelling, be extended to cover analogous possibilities in other art forms.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 575 Geneviève Pagé Gender at the Crossing: Ideological Travelings of US and French Thought in Montreal Feminism This article recounts a story about Montreal feminism using the narrative thread of its conceptual language. It is a story of language as a political choice that guides our actions, but also language as a political issue, a barrier, a (...) tool that structures our thinking and that reflects and reproduces relations of power in knowledge production and dissemination. Gender is the central character in this story—its role representing the way US, French, and Quebec theoretical traditions are deeply in dialogue with each other; yet this dialogue is arbitrary and filled with long silences. In reviewing the dialogue, this article identifies a few elements that play a significant role in favoring or impeding the traveling of ideas and concepts, focusing, in the case of Quebec, on how part of the feminist movement, comprised of radical or “revolutionary” feminists, engages with and constructs theory. The article begins by briefly tracing the evolving meanings of gender in the United States from the 1920s to the twenty-first century. Then, turning to France, a second section identifies elements limiting the traveling of US understandings of gender in French feminist theory, especially the predominance of specific traditions of thought, namely existentialism and Marxism, leading to different ways of thinking about oppression, patriarchy, sexism, and the idea of womanhood. In a third section, I shift the focus to Quebec, particularly Francophone Montreal, to survey its feminist thought, political traditions, and 576 Geneviève Pagé translation. Its history, its people, and its geographic location put it at the convergence of US and French influences, but with a distinct added local imperative: the struggle for national liberation. The specific ways in which Quebec nationalism has foregrounded power and politics around language has had a major impact on how Quebec feminists have negotiated relations with their southern feminist neighbors. In this sense, Quebec feminism presents an excellent case study of language operating as an axis of power. Furthermore, in the context of globalization and resistances to globalizing processes, Montreal provides a perfect example by which to highlight both transnational influences and local specificities. Montreal, as a classic example of Mary Louise Pratt’s cultural and linguistic “contact zone”—the space where communities of practices interact—is a city in which one can clearly identify “the intellectual and linguistic points of contact between cultures, and make visible the political pressure that activates them.”1 I treat translations that occur in this context as the process of connecting and communicating between communities. As queer theorist Juana María Rodríguez has noted in another context, “the process of translation involves more than merely translating languages; it involves translating cultures, values, and institutions of power.”2 Similarly, translation here involves an exchange between symbolic and semiotic structures of both the original and the new communities. Zooming out of Montreal, I then address the politics of translation on a more global scale, pointing out the particular ways the production and dissemination of knowledge is especially beholden to market relations. All these reflections help us understand the traveling of ideas, concepts, and ideologies across linguistic barriers. I conclude that it is in the interest of feminists to pay particular attention to what knowledge is produced from different standpoints and in different languages and what it can teach us. 1. Mary Louise Pratt, “Arts of the Contact Zone,” Profession (1991): 34; Sherry Simon, Gender in Translation: Cultural Identity and the Politics of Transmission (New York: Routledge, 1996), 36. 2. Juana María Rodríguez, Queer Latinidad: Identity Practices, Discursive Spaces (New York: NYU Press, 2003), 19. Geneviève Pagé  577 Gender in the United States It is among US feminists that the conceptualization of the gender/sex dichotomy first developed. However, gender—the word—ironically comes to English from the French genre and shares with that word its derivation from the Latin genus, meaning “kind,” “sort,” or “type.” The derivation is most visible in the borrowing in English of the French genre, for example, in literary forms such as fiction or poetry. Similarly, both the English... (shrink)

‘Gender identity’ was clearly defined sixty years ago, but the dominant conceptions of gender identity today are deeply obscure. Florence Ashley’s 2023 theory of gender identity is one of the latest attempts at demystification. Although Ashley’s paper is not fully coherent, a coherent theory of gender identity can be extracted from it. That theory, we argue, is clearly false. It is psychologically very implausible, and does not support ‘first­person authority over gender’, (...) as Ashley claims. We also discuss other errors and confusions in Ashley’s paper. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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Feminist approaches within the social sciences have expanded enormously since the 1960s. In addition, in recent years, geographic perspectives have become increasingly significant as feminist recognition of the differences between women, their diverse experiences in different parts of the world and the importance of location in the social construction of knowledge has placed varied geographies at the centre of contemporary feminist and postmodern debates. Gender, Identity and Place is an accessible and clearly written introduction to the wide field (...) of issues that have been addressed by geographers and feminist scholars. It combines the careful definition and discussion of key concepts and theoretical approaches with a wealth of empirical detail from a wide-ranging selection of case studies and other empirical research. It is organized on the basis of spatial scale, examining the relationships between gender and place from the body to the nation, although the links between different spatial scales are also emphasized. The conceptual division and spatial separation between the public and private spheres and their association with men and women respectively has been a crucial part of the social construction of gendered differences and its establishment, maintenance and reshaping from industrial urbanization to the end of the millennium is a central linking theme in the eight substantive chapters. The book concludes with an assessment of the possibilities of doing feminist research. It will be essential reading for students in geography, feminist theory, women's studies, anthropology and sociology. (shrink)

IN/Search RE/Search' offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters: The Anthropocene Epoch; The Climate Crisis; The Coexerced Existence, The Limitations of Language; Facts and Fictions; The Fragile Human; The Instrumentalised Identity; Gender and Violence; The Question of Race; Politics of Public Space; Naked Capitalism; The Morality of a Cyborg. These themes are analysed through art and design projects. The projects (...) are further contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks. 00By bringing together various practices (arts, design and writing practices and academic research), 'IN/Search RE/Search' shows how artistic research processes are designed and performed. The kaleidoscopic convergence of the featured approaches promises an exciting shift in thinking about how knowledge within the arts comes about, and how this knowledge nurtures daily practice, and vice versa. In this way, this publication discloses methods of thinking and working through which a new generation of artists/designers/researchers is shaping scenarios for the near future.00The core of this publication is formed by various art and design projects by students of the Rietveld Academie and the Sandberg Instituut. Many of these projects confuse, blur and confront what is traditionally relevant in research practices. These young artists demonstrate what happens when ideas and practices that seem to be miles apart within the traditional domain of research, are suddenly allowed touch upon and influence each other. (shrink)

Recognizing the right of LGBT students and educators to be out at school.

The article focuses on the differences between Eastern and Western art, characteristics of the representation of women's images in Eastern and Western art, and aesthetic criteria regarding women's images in Eastern and Western art. The author emphasized the need to understand the image of women in Eastern and Western visual artworks in different cultural and historical contexts and concluded that studying the image of women in visual art can help one better understand regional gender paradigm differences. To understand the (...) representation of women in Eastern and Western cultures, it is necessary to first understand the differences and similarities between these two cultures in order to gain a deeper understanding of how women are portrayed in these cultures. A few of the differences that can be found between East and West include the geographical structure, the ethno-cultural colors, the social outlooks, and the aesthetic ideals of the two regions. In addition to these factors, it is also important to consider how the visual arts of the two regions differ in their methods, materials, and religious, philosophical and philosophical perspectives. Throughout the article, the author discusses these aspects in great detail, showing specific approaches as to how the female image is represented in Eastern and Western visual art traditions. As such, the article provides valuable insight into the cultural divide between East and West and how their respective artistic styles have interacted with each other. (shrink)

Drawing on the themes of men and masculinity, this article examines texts in the corporate social responsibility (CSR) reports of local multinational enterprises (MNEs) in South Korea, an emerging economy. This article explores how Korean male hegemony is hidden and naturalized in CSR reporting. Focusing on the discursive construction of gender identity, we analyze how CSR reports portray gendered identities in ways that may foster gender inequality by examining how the texts reflect the inferior position of women (...) and marginalized male workers in the workplace. We review 15 CSR reports from Korean MNEs as a primary data source for examining corporate policies and disclosure on gender‐equality issues in the workplace. We explore the inherently embedded meaning of CSR reports to evaluate the masculine tone of gender relations in these texts. To deepen our understanding, we retrieved the original text segments, coded them by using a categorical framework and revisited our data to critically examine our interpretation of the narrative structures that we argue reflect and reproduce certain discourses of masculinity, through the (in)visibility of women, the marginalization of women and (part‐time) men, and the silencing of their voices by the Korean male hegemony. (shrink)

The current view that behaviour which is manifest in non-human primates forms a baseline for human behaviours is examined with special reference to the development of gender determination. A review of 21 non-human primate societies suggests that the behaviour of the sexes relates to assumption and occupation of societal roles defined by the local group. The significance of these findings for the human condition is discussed.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of contents -- Contributors -- Introduction -- 1 From place to planet: The role of the language arts in reading environmental identities from the UK to New Zealand -- From here to there -- Cockney translation -- Environmental identities -- Environmental knowledge -- Conclusion: moving from place to planet -- Notes -- References -- 2 Connecting community through film in ITE English -- Introduction -- The place of English (...) in the contemporary policy context -- Place in English: doing things differently -- The film project -- The films -- 'Our Place': the Kingsville School -- 'This is Our Place': High Bridge -- 'This is My Place': Silver Hill -- Discussion -- The place of school -- The place of the subject -- The place of pupils -- Connecting community through film: the possibilities of place -- Note -- References -- 3 Muslim youth identities through devotional songs and poetry in South Yorkshire communities -- Introduction 1: creative language study as etiolation -- Introduction 2: faith-based complementary schooling and language heritage -- Introduction 3: Islamophobia and youth identity -- Poetry and 'song' in the Islamic world and among Muslim youth in the UK -- This study -- Conclusion -- Notes -- References -- 4 Creative spaces for developing independent writing with English teachers -- Why do we need to develop teachers as creative writers? -- The role and influence of the National Writing Project -- The writing identities of trainee teachers -- Writing in creative spaces -- Some conclusions: writing teachers in creative spaces -- Writing from the Georgian House -- Writing from Brandon Hill -- Notes -- References -- 5 Durham city as an educational resource in initial teacher education for English: Seeing the city with new eyes -- Context -- The activity -- Implications. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of (...) globalization, time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

A Letter to the Editor about the origin of "gender identity" and deficiencies in its current definition.

The Vatican's Letter to the Bishops of the Catholic Church on the Collaboration of Men and Women in the Church and in the World, issued in 2004 to reinterpret biblical creation accounts, were not as successful as they might have been. Instead of focusing attention on social structures of gender domination, the document criticizes feminist theories, which, supposedly, lead to tensions between sexes or tend to destroy family values. I have tried to reinterpret the same cardinal biblical creation accounts (...) by means of an historical-critical approach, etymological interpretation and hermeneutics, and to show how sexual and gender identities are unintentionally constructed by the authors of these accounts and how structures, appearing in these accounts as `structures of sin' have affected the interpretation of these identities in the same Bible and in the world of formation of the New Testament. The story of `primordial sin' in this case is a metaphor of socialization, for the metaphor of the tree of knowledge of good and evil, is to be understood as the tree of knowledge of opinions, rooted in society, tradition, culture, concerning what is good and what is evil, acceptable and unacceptable. (shrink)

The present study explored the relationship between attitudes toward transgender individuals and the judgments people make in transgression scenarios involving transgender and cisgender individuals of different ages in a sample of 184 Romanian students. We used a mixed-method approach and tested the effect of gender identity on participants' punishments in a hypothetical transgression. In hypothetical transgressions involving preadolescent transgender and cisgender agents, results suggested no differences in participants' theft punishments. However, adult cisgender transgressors received significantly harsher punishments compared (...) to transgender transgressors. Our qualitative analyses suggested that the most frequent categories of responses justifying the punishments confirmed the importance of the agent's age. Our findings suggested no significant associations between participants' gender and reported the previous contact with an LGBTQ member and the punishments they chose for child and adult transgressors. Results are discussed in light of their implication in the contemporary, highly LGBTQ intolerant Romanian context. (shrink)

The postmodern rejection of essentialism does not mean that feminist theorists must abandon all categorizations of women. Indeed, while it is important to deconstruct identities and highlight the differences among women, we need to arrive at some notion of gender identity for political purposes. In paying careful attention to the distinction between nominal essences and real essences, the author shows that the category of women can be maintained without resorting to the problems of traditional essentialism. The author argues (...) that the marginalization of women is a product of culturally determined identities rather than ontological differences between men and women.Le refus postmoderne de l’essentialisme ne signifie pas que la théorie féministe doive abandonner toutes catégorisations de femmes. En effet, bien qu’il soit important de déconstruire les identités et mettre en valeur les différences parmi les femmes, il faut en arriver à une certaine notion d’identité sexuelle pour des raisons politiques. Se laissant guider par la distinction entre essences nominale et réelle,l’auteure montre que la catégorie de femme peut être maintenue tout en éludant les problèmes de l’essentialisme traditionnel. L’auteure soutient que la marginalisation des femmes est le produit d’identites determinées culturellement plutôt que de différences ontologiques entre hommes et femmes. (shrink)

Most prior research on figurative language has looked at the cognitive aspects of metaphoricity. The present research attempts at going beyond metaphor's cognitive impact and aims to view the social and discoursal aspects of metaphorical constructions in relation to people's identities and social realities. This article reports an analysis and discussion of figurative language used by Pakistani women while talking about their literacies and selfhood. The article makes two claims about figurative language: first, metaphorical constructions are cultural and therefore rooted (...) in social practices and discourses; second, figurative expressions are common to everyday talk, constrain and enable thinking processes and construct social reality. Methodologically too, the article offers an interesting departure from the traditional studies of metaphor as the data cited are `incidental' and natural, rather than elicited or experimental; the researcher `s aim was not to study figurative language but it turned out to be ubiquitous in women's everyday talk. Hence, the present data strengthen Tannen's and Carter's work that creativity and figurative language are not exclusive to literary discourse but are part of everyday discourses. (shrink)

Cet article examine comment, par leur discours, les femmes se construisent comme mère, dans leurs interactions avec leurs enfants adolescent-e-s, occasionnellement avec leurs maris, contribuant ainsi à la reproduction sociale des stéréotypes de masculinité et de féminité ou, au contraire, de quelle façon elles rompent avec la tradition et proposent des modèles alternatifs. Acceptent-elles ou non leur héritage symbolique en matière de genre? En voulant la reproduire, comment réinvestissent-elles la dimension genrée dans un contexte d’interactions verbales avec leurs adolescent-e-s, les (...) renvoyant ou pas à leurs « origines » culturelles? Les mères dépassent-elles le modèle de binarité des sexes traditionnel pour parvenir à un modèle agentif? À travers le continuum de normativité et d’agentivité, l’entre-deux prend tout son sens : en quoi l’imaginaire linguistique constitue-t-il un espace à construire, un « à travers »? This research paper examines the way women discursively construct themselves as mothers, in their interactions with their teenage children, and occasionally with their husbands, and the way they thus contribute to the social reproduction of manhood and womanhood stereotypes or on the contrary break with the tradition to propose alternative models. Do they or don’t they accept their symbolic heritage as regards sex and gender? While intending to reproduce this heritage, how do they reinvest the gendered dimension in the context of verbal interaction with their teen-agers, sending them back or not to their cultural “origins”? Do the mothers go beyond the traditional binary model of sex and gender to reach an agentive model? Through the continuum that goes from normativity to agentivity, the idea of an in-between stage makes sense: in what way does the linguistic imaginary constitute an area to be forged, a crossing space? (shrink)

This paper is meant to discuss two diverse but mutually entailed goals, underpinning the analysis of media business discourse. On the one hand, it promotes a critical understanding of how gender marks discourse and encodes power in business discursive communities, thus playing a key role in “shaping the expectations about people’s behaviours”. On the other, it promotes an interdisciplinary approach so as to disambiguate the discursive and argumentative strategies in the construction of media content by focusing on the symbolic (...) organization and interaction between citizens and the discursive communities, in terms of male/female representations, given the way they throw global challenges and/or replicate stereotypes and particular ways of perceiving the business discourse in terms of enunciation. The contrastive analysis of a corpus of magazine texts, covering news in April and May 2011, with a large readership in the global scenario, in Portuguese and in English, uncovers the power imbalance created when media texts pass on stereotypical patterns of behaviour in business and everyday discursive communities. (shrink)

Focusing on three historical examples of a different understanding of Christian identity, the paper seeks to address the role of contemporary concepts of sex and gender in the creation of Christian identity. In the first case study, focused on the literary representations of the Christian martyrdom from the second and third centuries, special emphasis is placed on the demand for the?manly? or?masculine? way of witnessing faith. The second historical example relates to the creation of a wider ascetic (...) movement in the fourth-century Asia Minor, and its specific focus is on Macrina the Younger. In her Vita, Gregory of Nyssa distinguishes between Macrina?s gender identity based on her virginity on the one hand, and her social role as a widow, and?mother? and?father? of her monastic community on the other. Finally, the focus is shifted towards Dionysius the Areopagite and Maximus the Confessor, whose teachings about ecstasy, as a way to transcend oneself in the movement towards the loved one, provide the basis for establishing a theology of marriage and creating a Christian identity based not on sexual or gender roles, but on the uniqueness of human nature. (shrink)

The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. the nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese naked body (...) from the Western nude. (shrink)

Many feminists (e.g. T. Bettcher and B. R. George) argue for a principle of first person authority (FPA) about gender, i.e. that we should (at least) not disavow people's gender self-categorisations. However, there is a feminist tradition resistant to FPA about gender, which I call "radical feminism”. Feminists in this tradition define gender-categories via biological sex, thus denying non-binary and trans self-identifications. Using a taxonomy by B. R. George, I begin to demystify the concept of (...) class='Hi'>gender. We are also able to use the taxonomy to model various feminist approaches. It becomes easier to see how conceptualisations ofgender which allow for FPA often do not allow for understanding female subjugation as being rooted in reproductive biology. I put forward a conceptual scheme: radical FPA feminism. If we accept FPA, but also radical feminist concerns, radical FPA feminism is an attractive way of conceptualising gender. (shrink)

This paper examines gender‐specific transformations of nursing practice in institutional mental health‐care in Alberta, Canada, based on archival records on two psychiatric hospitals, Alberta Hospital Ponoka and Alberta Hospital Edmonton, and on oral histories with psychiatric mental health nurses in Alberta. The paper explores class and gender as interrelated influences shaping the work and professional identity of psychiatric mental health nurses from the 1930s until the mid‐1970s. Training schools for nurses in psychiatric hospitals emerged in Alberta in (...) the 1930s under the influence of the mental hygiene movement, evolving quite differently for female nurses compared to untrained aides and male attendants. The latter group resisted their exclusion from the title ‘nurse’ and successfully helped to organize a separate association of psychiatric nurses in the 1950s. Post‐World War II, reconstruction of health‐care and a de‐institutionalization policy further transformed nurses’ practice in the institutions. Using social history methods of analysis, the paper demonstrates how nurses responded to their circumstances in complex ways, actively participating in the reconstruction of their practice and finding new ways of professional organization that fit the local context. After the Second World War more sophisticated therapeutic roles emerged and nurses engaged in new rehabilitative practices and group therapies, reconstructing their professional identities and transgressing gender boundaries. Nurses’ own stories help us to understand the striving toward psychiatric nursing professionalism in the broader context of changing gender identities and work relationships, as well as shifting perspectives on psychiatric care. (shrink)