The increasing availability of passively observed data has yielded a growing interest in “data fusion” methods, which involve merging data from observational and experimental sources to draw causal conclusions. Such methods often require a precarious tradeoff between the unknown bias in the observational dataset and the often-large variance in the experimental dataset. We propose an alternative approach, which avoids this tradeoff: rather than using observational data for inference, we use it to design a more efficient experiment. We consider the case (...) of a stratified experiment with a binary outcome and suppose pilot estimates for the stratum potential outcome variances can be obtained from the observational study. We extend existing results to generate confidence sets for these variances, while accounting for the possibility of unmeasured confounding. Then, we pose the experimental design problem as a regret minimization problem subject to the constraints imposed by our confidence sets. We show that this problem can be converted into a concave maximization and solved using conventional methods. Finally, we demonstrate the practical utility of our methods using data from the Women’s Health Initiative. (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy Sherman, (...) Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

Michel Foucault showed by his genealogical method that history is random. It comprises sites of disarray and dispersal. In those sites, Simone de Beauvoir wrote philosophy through lived experience of woman as Other in relation to man as the Absolute. Here lies a fecund site for revisionist analysis of female cultural production and its relevance to a philosophy of education. The paper works with a feminist approach to the politics of knowledge, examining textual and political strategies in the recording of (...) history and the ‘othering’ of women through dominant cultural discourses. Infusing this discussion is a feminist politics of interrogation on cultural change for women. The paper investigates contributions of women to fields of art, politics, education and philosophy, and to the ways their contributions have been considered, received, positioned. Different approaches to feminism become apparent in the different conditions of knowledge under discussion. This leads to a final consideration of femi... (shrink)

Women in the field of art and science have an unquestionable presence worldwide that exceeds their visibility in the general visual art scene. When cataloguing women’s range of practices and exploring their agency in art and science, a new model of inclusivity and access to the public sphere for all individuals working in art emerges. First, these are contributions reflecting on projects being carried out by women in the broadest interpretation of the term – individuals who identify (...) themselves as women, cisgender, non-cisgender, transgender, gender fluid and independent of their sex and gender. Second, these are contributions that reflect on research methodologies, collaboration strategies, knowledge sharing, as well as public vs. personal, embodiment and materiality. (shrink)

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), (...) and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries. (shrink)

L'ouvrage regroupe plusieurs chapitres et les notices et photographies de 170 statues et objets présentés lors de trois expositions dans des musées américains, à Yale en 1996, San Antonio et Raleigh en 1997. Après un premier chapitre sur le « genre » (Gender theory in roman art, N.B. Kampen), concept moderne, fruit de plusieurs décades de travail sur la théorie féministe, qui est un chapitre de réflexions sur l'organisation sociale hiérarchisée, fondée sur les différences sexuelles, ..

L'ouvrage regroupe plusieurs chapitres et les notices et photographies de 170 statues et objets présentés lors de trois expositions dans des musées américains, à Yale en 1996, San Antonio et Raleigh en 1997. Après un premier chapitre sur le « genre » (Gender theory in roman art, N.B. Kampen), concept moderne, fruit de plusieurs décades de travail sur la théorie féministe, qui est un chapitre de réflexions sur l'organisation sociale hiérarchisée, fondée sur les différences sexuelles,...

bildwechsel is one of the most prolific and longstanding video collectives established in Europe within the framework of the women’s movement. Founded in 1979 by students of the Hamburg College of Fine Arts, in 1986 the group became an umbrella organization with activities and agents spread all over Europe and the world sharing a common infrastructure. The purpose of bildwechsel is to strengthen women’s presence in the audiovisual media and to advance feminist and queer art. The group has (...) been pursuing its mandate initially through local workshops and exhibitions, then through archival practices and programming activities promoted on the organization’s website. This article examines bildwechsel as an example of women’s ability to maintain a niche presence within the European and the world art scene since the late 1970s via grassroots globalized practices, from within a theoretical framework drawing on transnational feminism and new media theory. (shrink)

The recent spectacular progress in assisted reproductive technologies (ARTs) has resulted in new ethical dilemmas. Though women occupy a central role in the reproductive process, within the ART paradigm, the importance accorded to the embryo commonly surpasses that given to the mother. This commentary questions the increasing tendency to position the embryonic subject in an antagonistic relation with the mother. I examine how the mother’s reproductive autonomy is compromised in relation to that of her embryo and argue in favour (...) of doing away with the subject-object dyad between them, particularly in the contexts of surrogacy and abortion. I also engage with the Surrogacy (Regulation) Bill, 2016. A critical discussion of the privacy judgment passed by the Supreme Court of India helps examine how personal autonomy of the body and mind extends to include the reproductive autonomy of women as well. (shrink)

This essay investigates the linguistic, artistic, and typographical dimensions of Anne Carson’s H of H Playbook and Trojan Women by Euripides: A Comedy. I argue that graphic design and design-thinking principles provide a useful and unexplored theoretical framework for deciphering these books, given the often-complex relationship in them between image and words, and sometimes even words presented in different typeface and handwriting. Carson worked in graphic design for a time, and as a poet, words – and metaphor, specifically – (...) are her primary design tool. Language works in tandem with image and form to create broader artistic meaning. (shrink)

When The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory by Carol J. Adams was published more than twenty years ago, it caused a immediate stir among writers and thinkers, feminists and animal rights activists alike. Never before had the relationship between patriarchy and meat eating been drawn so clearly, the idea that there lies a strong connection between the consumption of women and animals so plainly asserted. But, as the 21 personal stories in this anthology show, the impact (...) of this provocative text on womens lives continues to this day, and it is as diverse as it is revelatory. One writer attempts to reconcile her feminist-vegan beliefs with her Muslim upbringing; a second makes the connection between animal abuse and her own self-destructive tendencies. A new mother discusses the sexual politics of breastfeeding, while another pens a letter to her young son about all she wishes for him in the future. Many others recall how the book inspired them to start careers in the music business, animal advocacy, and food. No matter whether they first read it in college or later in life, whether they are in their late teens or early forties, these writers all credit The Sexual Politics of Meat in some way with the awakening of their identities as feminists, activists, and women. Even if you havent read the original work, youre sure to be moved and inspired by these tales of growing up and, perhaps more important, waking up to the truths around us. (shrink)

This article examines the potential of art and archaeological remains for the study of women's social history in early Christianity. Part I considers important sources for art and archaeological data; the received method and classification criteria for the discipline of early Christian art and archaeology; and the types of problems both earlier and contemporary approaches to the material remains present for scholars. Part II proposes an approach to understanding early Christian art and material culture as part of a larger (...) ongoing social discourse in the ancient Mediterranean world where cultural representations take part in the lively social and aural culture of life lived in close proximity to others. This approach places art and archaeological evidence in the foreground and documentary sources in the background as corroborative evidence. (shrink)

This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.

Les études récentes ont montré que les femmes ont participé, tout au long du Moyen Age, à l’activité économique. Pourtant, leur place dans la production artistique médiévale est généralement ignorée des historiens de l’art, alors même que l’étude de la production d’un artiste ou d’un milieu montre clairement, par les sources et les œuvres, qu’elles ont été présentes à chaque étape du processus de création. La confrontation de la norme à la pratique, par l’analyse de la réglementation de la gilde (...) de Saint-Luc de quatorze villes (Nord, Flandre, Hainaut et Brabant) et des registres d’inscription à la gilde des métiers du livre brugeois, a permis de mettre en perspective les activités des femmes dans les métiers d’art. Elles apparaissent comme maîtresses, ayant passé la maîtrise du métier – et pas seulement de métiers dits féminins –, dirigeant l’atelier, aux côtés du mari ou seules (célibataires ou veuves) apprenties, formant parfois des garçons ou des filles au métier. Elles sont aussi les premières victimes des crises économiques. (shrink)

Women, Art, and Power?seven landmark essays on women artists and women in art history?brings together the work of almost twenty years of scholarship and speculation.

The purpose of this paper is to attempt to defend feminist film studies of the image of women in film approach, where that is understood as having no necessary commitment to psychoanalysis.

A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...) Searching for inner meaning in literature -- The depiction of modern women's sexuality in art -- The depiction of the psyche in art -- The fusion of eroticism, aggression, and anxiety in art -- A cognitive psychology of visual perception and emotional response to art -- Discovering the beholder's share -- Observation is also invention : the brain as a creativity machine -- The emergence of twentieth-century painting -- A biological science of the beholder's visual response to art -- The brain's processing of visual images -- Deconstruction of the visual image: the building blocks of form perception -- Reconstruction of the world we see : vision is information processing -- High-level vision and the brain's perception of face, hands, and body -- Top-down processing of information : using memory to find meaning -- The deconstruction of emotion : the search for emotional primitives -- The artistic depiction of emotion through the face, hands, body, and color -- Unconscious emotions, conscious feelings, and their bodily expression -- A biological science of the beholder's emotional response to art -- Top-down control of cognitive emotional information -- The biological response to beauty and ugliness in art -- The beholder's share : entering the private theater of another's mind -- The biology of the beholder's share : modeling other people's minds -- How the brain regulates emotion and empathy -- An evolving dialogue between visual art and science -- Artistic universals and the austrian expressionists -- The creative brain -- The cognitive unconscious and the creative brain -- Brain circuits for creativity -- Talent, creativity, and brain development -- Knowing ourselves : the new dialogue between art and science. (shrink)

Cirocco, Josie My mini thesis of 'Finding God in Art: Karl Rahner on the Nature of Religious Art' was part of my master's project with the Flinders University, South Australia, completed in December 2014. With my research topic, 'Finding God in Art', in mind, I was seeking to go beyond the classical idea of sacred art to explore the way other art may genuinely be religious even though it is not overtly about a religious subject. To do this I adopted (...) some of the insights of Karl Rahner's theology. The immense success of Rahner's work is a tribute to his ability to speak profoundly about the everyday life of ordinary men and women. I explored Rahner's thought about art, both verbal and non-verbal, within a Christian context. (shrink)

Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any engaged (...) artist, to the exclusion of many other concerns, the demise of apartheid offers the possibility of exploring other dimensions of lived experience in South Africa. For feminists, this is potentially a very positive moment when questions of gender – so long subordinated to the structural issue of ‘race’ under apartheid – can now be explored. Penny Siopis’ work has long been concerned with the lived and historical relations between black and white women in South Africa. The discussion focuses on the ambivalent and dependent relationships formed between white middle-class women and black domestic labour during apartheid. Siopis’ work engages with how the appropriation of black women's time, lives, labour and bodies has shaped her ‘own’ history. (shrink)

In this article we will observe Sartre sketching, elaborating, and polishing characters, most of whom he carried around in himself for almost fourteen years. In short, we go back to the beginning of the question of the relationship of the writer and his work, relying above all on the manuscripts we have been able to consult. We postulate, and we will see in the course of this article if it is true, that the choice of writing in a certain way, (...) of inventing a character who takes shape in a particular way, can be conceived as the transformation of a real body into an imaginary one. J. F. Louette expressed it very well in 1996 when he stated that Sartre writes "to change his lymph and blood into ink: to get rid of himself thanks to the sheet of paper, which is not himself; in short … to change the contingency of the body into the necessity of art." Thus, the artist is the man who chooses to create imaginary objects in reality, but also and above all (from the ontological point of view), the man who chooses to create the real world in imagination, whose perception of the situation is in itself creation. (shrink)

If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that (...) the conditions suited to both history and the history of art may affect their creation but without specifying it ontologically. If, moreover, some women artists define their work as feminist, it is through an act that combines artistic and political transgression. The exhibition currently arranged by the Georges Pompidou Centre, elles@ beaubourg, provides new resources for these complex questions. (shrink)

This book shows that the metaphor of the quintessentially feminine art of weaving in Homer's Odyssey, Aristophanes' Lysistrata, and Plato's Statesman and Phaedo conveys complex and inclusive teachings about human nature and political life that address the concerns of women more effectively than commonly believed.

The paper is an example of interdisciplinary research. It combines aspects of mythology, philosophy, psychoanalysis, aesthetics and feminism to support the analysis of images of water associated with woman and seduction, mainly in visual art. The author’s question is as follows: What are the basic characteristics of woman, water and seduction that have enabled them, throughout the world’s history, to fuse into a complex that can be found in myths, fairy tales, philosophical treatises, psychoanalysis and especially in works of art? (...) Is it a kind of Jungian archetypal image? To answer this question the author searches for a philosophical explanation of seduction in Jean Baudrillard’s On Seduction, and for an explanation of women’s identity in the works of Helene Cixous and Julie Kristeva. Further, an explanation of the development of the image of the mermaid is offered. The main emphasis is put on the interpretation of several works of art: What a Water Gave Me by Frida Kahlo, The Seduction and The Collective Invention by Rene Magritte, Queen of the Fish by Mimi Parent, and Bathing Nymphs by Paul Delvaux. (shrink)

This essay explores the narrative potency of the many silences and gaps, the holes and empty spaces, that shape Carson’s H of H Playbook. It argues that the “comic” styling of this tragedy – that is, its formatting as a comic or a graphic novel analogous to that of Carson’s Euripides’ Trojan Women – engages reader, text, and image in a highly collaborative dynamic of narrative co-production.

While life thrives on all that is particular, private and personal, arbitrary atrocity conspires to establish itself on the power to destroy it. Conversely, art of atrocity finds its vocation in concentrating on the particular, by magnifying minute details. Individualizing the anonymous victim, ‘art of atrocity' 1 protests the conspiracy of dehumanization that lies with destruction of life.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Images of Women in Chinese Thought and Culture: Writings from the Pre-Qin Period through the Song DynastyXiufen LuImages of Women in Chinese Thought and Culture: Writings from the Pre-Qin Period through the Song Dynasty. Edited by Robin R. Wang. Indianapolis: Hackett Publishing Company, 2003. Pp. xiv + 449.Images of Women in Chinese Thought and Culture: Writings from the Pre-Qin Period through the Song Dynasty, edited (...) by Robin R. Wang, is an excellent collection of English translations from the Classical Chinese of writings on women. As the title indicates, the book starts with writings from before the founding of the Qin, China's first bureaucratic state, in 221 B.C.E., and ends with the Tang and Song dynasties (618-1279 C.E.), a period that has been considered the richest in Chinese history in terms of literature and art production.The anthology includes fifty-four selections arranged in five parts based on a conventionally accepted chronology of the texts. There is a brief introduction at the beginning of each selection that helps familiarize the reader with the texts and the historical and cultural context out of which women's issues have arisen. The first two parts include selections from oracle-bone inscriptions, the earliest Chinese writings ever discovered; texts from the major ancient philosophical schools, such as Confucianism, Daoism, Mohism, and Legalism; and folk literature together with poems by some of the best-known poets of their time. These writings not only encompass the intellectual foundations of Chinese civilization but also provide valuable sources for understanding how perceptions of gender relations have been shaped by the Chinese cosmological and philosophical view of the world. In text number 3, the Classic of Changes (Yijing), women and men are understood as the highest embodiments of yin and yang, the two fundamental forces that characterize the development of the universe. Since these forces are understood as both hierarchical—as they are manifested in the interrelation between the earth and sky—and, more importantly, complementary to each other, women's roles in family and society are thus recognized as distinct from, yet complementary to, those of men.In part 3, the reader is led through the Han (202 B.C.E.-220 C.E.), China's longest-lived dynasty. Writings from this period reveal the processes by which the ancestral wisdom, especially the Confucian Classics, were codified through government-sponsored scholarship. The writings of Dong Zhongshu (195-115 B.C.E.) and The Comprehensive Discussion in the White Tiger Hall (Baihu tong) were two of the texts responsible for the establishment of the official Confucian ideology of the Han. Texts drawn from this period also include works by Ban Zhao (45-114 C.E.), China's first and most influential female historian and scholar. Her writings were originally intended as moral guidance for women and were regarded in Chinese society as key texts in women's education up to the twentieth century.The six selections included in part 4 are comparatively less well known to English readers, except for The Ballad of Mulan, which became popular in the West after the story of Mulan was made into an animated movie in 1998. The other writings in this part have only been translated into English since the 1970s. Among them, [End Page 496] English versions of Family Instructions to the Yan Clan and Women in the Standard Histories were prepared especially for this volume. These writings reveal how Neo-Confucianism and Neo-Daoism became the principal approaches to comprehending the social reality and gender relations following the chaotic disintegration of the Han dynasty, and they help explain the increasing dominance of Confucian ideology and its implications for women.Finally, in part 5, there are included among other selections some well-crafted love stories written in the classical language by eminent men of letters and works by several great poets (both men and women) of the Tang and Song periods. In this section there are writings by some of the most familiar names of the period, such as Bojuyi (772-846 C.E.), Yuan Zhen (779-831 C.E.), and Li Qingzhao (1081-1151 C.E.). These authors have... (shrink)

This essay explores some of the elements by which Muslim women who wear the hijab in the United States are managed so as to produce and distinguish "unruly" from "good" Muslim female citizens within the context of American liberation. Unlike the French state, which has regulated both the hijab and niqab through national legislation, the American liberal framework utilizes a laissez-faire approach, which relies on a range of public and private institutions to determine acceptable public presentations of the liberal (...) female subject. I refer to this form of management as "neoliberalism." Neoliberalism management works in conjunction with popular political discourses and domestic events in ways that alternately contract and expand the boundaries that allow "suitable Muslim women" in the public sphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. 147 Eric Andrew James The Representational Necropolitics of Black Women in Zombie Dystopia Video Games Though Stuart Hall defends popular representation as an important terrain of political struggle, he also argues that images of difference are dominated by “racialized regimes of representation” manifest in stereotypes and invisibilities.1 These ensure that marginal identities are reduced, essentialized, and rendered (...) other. One of the most powerful tools for this form of silencing in the popular representation repertoire is the notion of an established genre. In US popular culture, creators and critics alike often position people who experience multiple layers of oppression as constitutively outside the expectations of existing genres. Their absence is attributable not simply to creator racism but also to that genre’s relationships to intersecting categories of difference and domination, such as race and gender. Beginning with the preponderance of representational violence in popular media, this article draws from existing work by feminists of color in order to model a critique of US representational precarity. To illustrate the political tensions in popular US culture, I stage my intervention into a medium whose industry has had particularly fraught struggles with representation: video gaming. There, I focus specifically on 1. Stuart Hall, “The Spectacle of the Other,” in Discourse Theory and Practice: A Reader, ed. Margaret Wetherell, Stephanie Taylor, and Simeon J. Yates. (London: Sage, 2001), 325–44. 148 Eric Andrew James recent attempts to represent Black women, whom the gaming industry has held up as emblematic of difference and diversity. 2 These attempts are marred by predictable disasters and pitfalls. In particular, I discuss how the representational politics of Black women in popular zombie dystopia games repeats a similar violence as the previous silencing of Black women in these spaces. The gaming industry’s struggles with representation in the wake of Gamergate are demonstrative of broader tensions in Black women’s representation in popular media. Thus, while I am focused on video games, I also intend this analysis to reflect on feminist studies of the relationship between genre and representation. I advance existing scholarship on video game representations of Blackness by theorizing violence enacted at the intersections of race, gender, and sexuality in game genres. Specifically, I position this intervention as a point of departure from TreaAndrea M. Russworm’s chapter in Gaming Representation: “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us.”3 This chapter provides a compelling critique of the relationship between the dystopian game genre and Black representation, highlighting the lack of self-reflexivity in mass-market representations of Blackness. Expanding this project by taking another look at her objects of study—The Last of Us (2013– 2014) and Telltale’s The Walking Dead (2012)—I argue that taking Black women’s multiple jeopardy as foundational to the zombie dystopia genre offers a deeper look at the grammars of representational violence. My use of multiple jeopardy refers to Deborah K. King’s theorization of how multiple layers of oppression exponentially multiply individual disadvantages. As King describes, “The modifier ‘multiple’ refers not only to several, simultaneous oppressions but to the multiplicative 2. AnnaMaria Jackson-Phelps, “Representation Matters: Positive Portrayals of Black Women in Video Games,” Medium, February 28, 2017, https:// medium.com/legendary-women/representation-matters-positive-portrayals -of-black-women-in-video-games-c96cf9f66fdf; Jef Rouner, “Would You Believe There Have Been Only 14 Playable Black Women in Gaming?” Houston Press, June 5, 2015, https://www.houstonpress.com/arts/would-you-believethere -have-been-only-14-playable-black-women-in-gaming-7484017. 3. TreaAndrea M. Russworm, “Dystopian Blackness and the Limits of Racial Empathy in The Walking Dead and The Last of Us,” Gaming Representation: Race, Gender, and Sexuality in Video Games, ed. Jennifer Malkowski and TreaAndrea M. Russworm (Bloomington: Indiana University Press, 2017), 109–28. Eric Andrew James 149 relationships among them as well.”4 These layers of oppression are often contradictory and may leave no avenues for action; the expectations placed on one for their race become impossible to fulfill because of the contradictory expectations placed on them for their gender or sexuality. This multiple jeopardy thus introduces... (shrink)

ICT for development projects often focus on integrating social factors in information systems design. A well-designed ICT4D solution must be tailored to the needs of the people who will use them and subsequently, requires an extensive understanding of the context and constraints in people’s lives. With an objective to explore how context-specific issues influence the conveyance of appropriate agricultural information to women, this paper uses PROTIC, a 5-year collaborative project between Monash University and Oxfam, as a case. PROTIC was (...) implemented in three climate vulnerable ecological zones of Bangladesh with an aim to overcome the agricultural information gap for rural women. Based on a study in mixed research method and triangulation, this paper brings evidence on the significance of considering context-specific attributes in designing effective and sustainable information services for marginalized women farmers in developing countries. The paper upfolds some significant recommendations which is expected to contribute to the domain of context-specific information system design in resolving socio-economic problems to pave the way of sustainable development. (shrink)

My interest in undertaking the study of images of Arab women in Western visual ethnography and art emerged from my own life experience. My identity as an Arab feminist having lived in different Eastern and Western communities has shaped my understanding and affected my observation in this research. As an Arab woman being observed in the first place, I am taking the role of the "outside"/inside' observer in this study. I am observing the observers and the observed, and both (...) become the observed in my chosen study. I observe visual images of Arab women under the gaze of Western observers. Ethnographers, photographers, and artists become the observed under my investigation. Here again, visual images of Arab women are observed—in fact they only have been observed as objects, a result of their display as visual images by Western observers. Contemporary North African women, Assia Djebar, Houria Niati, and Leila Sebbar are observers who examine visual images of North African women that were painted by Western artists. In examining their works here, they in turn become the observed. Also I observe Elizabeth Fernea's visual ethnographic work on North African women. Fernea and her project become the observed in my research. Finally, I undertook the role of the observer in this study mainly in order to understand myself and identify my place in the society of other women and men. I introduce a cross‐cultural dialogue that will question the bipolar cultural boundaries in feminist and historiographic scholarship. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement (...) that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

This article examines and presents examples of contemporary advertising within the medical and health professions that continue the process and organisation of knowledge about women and their reproductive bodies. It draws on feminist and poststructural perspectives to inform a critical evaluation of the visual representations of menopausal women and hormone replacement therapy. These representations work to construct certain definitions of the feminine that sustain and support existing contradictory cultural meanings and values about menopause. I argue that the images (...) continue to misrepresent and define what forms of femininity and sexual gender are desirable and acceptable for menopausal women. The article addresses the problems of gender discrimination and bias within the advertising industry, and illustrates the ways in which readers of visual texts may be influenced by stereotypic assumptions concerning a woman's lived experience of menopause. It illustrates how specific symbolic images directed towards men and women for hormone replacement therapy, testosterone deficiency and sexual dysfunction influence the viewer's decision making and action responses. (shrink)

This paper explores transformations in the understanding of teaching authority and also considers an often neglected group of subjects who have exercised such in the period during and since the Second Vatican Council. In particular, it explores both topics vis-à-vis the role of women in the church, especially their contributions to the church’s exercise of magisterium. The article outlines the need to increase awareness, acknowledgment and appreciation of the contribution of women to the church’s teaching authority and, most (...) importantly of all, to increase further their participation in the same. First, the paper considers, the role played by the few women present in an active capacity at Vatican II. Through posing the rhetorical question, ‘what were they doing there?’, the author argues that these women were teaching with authority, i.e. exercising magisterium. Next, the paper explores some of the confusion and controversies surrounding the notion of what magisterium actually is and who should exercise it, before surveying some further brief examples of how women have exercised magisterium throughout the history of the church. The paper next considers how events in the church have developed from a stance of confrontation toward the more positive steps that have been taken in relation to the role of women in the church under Pope Francis. It concludes with reflections on the future and why attention to aggiornamento for magisterium is essential in order that the church becomes a body of greater and wider co-responsibility, including the indispensable collaboration of women practicing the art of magisterium. (shrink)