Feminism(s)

This book illuminates the rhetorical work performed by contemporary representations of a specific type of postfeminist hero who has garnered a lot of cultural capital: women who are smart, capable, physically agile and fit, and proficient with weaponry and technology. Employing critical/cultural and feminist approaches, Heather Hundley, Roberta Chevrette, and Hillary Jones engage with a range of theories including intersectionality, critical race theory, postmodernism, and posthumanism to examine a range of contemporary texts, including Kill Bill, Volumes I and II; The Hunger Games films; Wonder Woman; Atomic Blonde; Proud Mary; The Bionic Woman; Deus Ex; Dark Matter; and Caprica. Contributing to a robust existing conversation about postfeminist media as well as tracing how representation has changed in recent years, Hundley, Chevrette, and Jones contend that portrayals of dangerous dames offer limitations and opportunities for audiences. Specifically, should audiences read these characters as evidence of a postfeminist apocalypse, they may heed warnings of the limited interpretations offered. Yet as more women serve as role models and gain public attention, particularly regarding their assets and abilities, they provide important equipment for living for navigating around patriarchal constraints raised by postfeminism, neoliberalism, and humanism.

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The purpose of the BA Thesis is to examine to what extent Emma Woodhouse’s character can be considered as an independent woman in Jane Austen’s novel. With the help of historical analyses on women’s lives in the Regency era it is supported that Emma had a distinctive and uncommon status compared to most women in her time. Moreover, several scholarly studies about Emma’s character are evaluated to give a broader account on her personality and traits. These studies prove that Emma’s inner characteristics, too, contributed to her independent behaviour shown in the novel. It is important to understand that Emma Woodhouse is a complex character who is unique among Jane Austen’s heroines. While she is rich, beautiful, and intelligent she is too inexperienced to use her power well which leads to several serious issues. For this reason, the BA Thesis concludes that Emma Woodhouse’s case can stand as an example for women who face a changing England at the beginning of the nineteenth century. The BA Thesis wishes to draw attention to the importance of women’s status in society before the dawn of the new century. This historical period deserves thorough inspection from which the most notable sources are given to us by women writers like Austen.

This dissertation analyzes the postfeminist tendencies and biopolitics in contemporary media practices by considering the pop culture exemplar, the Kardashian-Jenner family.

This dissertation received First Class Honors from Trinity College Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

This paper outlines a theory explaining why the provider role is important to boys in the development of their masculine identity. The family is a primary site for identity formation, and boys appear to be more badly affected by growing up in non-intact families than girls. Female identity is more marked by biological transitions (e.g. pregnancy), and gives mothers a more central role within the family than fathers. Thus the male role within the family – the provider role-needs to be socially and culturally constructed. Where the father is absent and the role is devalued, transition from boyhood to manhood is made difficult, and masculinity may be problematized as 'hegemonic', 'toxic', and 'hyper'. Solutions from traditional cultures are discussed.

This article has been mainly inspired by Tamara Shefer; Sally, R. Munt (2019) A feminist politics of shame: Shame and its contested possibilities
https://journals.sagepub.com/doi/full/10.1177/0959353519839755

Questo articolo è stato fortemente inspirato da: Tamara Shefer; Sally, R. Munt (2019) A feminist politics of shame: Shame and its contested possibilities
https://journals.sagepub.com/doi/full/10.1177/0959353519839755

Anne Sexton is one of the most famous "women" poets of her time, which is the 20th century. She wrote all of her poems under the name of "confession poetry" that emerged in the 20th century. In this poetic style, Anne Sexton often used elements containing "personal" or "I" subjects. Her main topic is her own life and, consequently, she shares many details about her own life. The person reconstructs the traumatic events that she experienced in her

This article explores theoretical alternatives to contemporary western hegemonic feminist discourses, advancing methodologies that mark an epistemological break with western feminist scholarship; namely Orientalist criticism, third world (black) feminism, and Islamic feminism with all the innovative methodologies and insights they offer into studying and understanding the condition and reception of women in the material and immaterial culture of the Arab/ Islamic experience.

The kind of education you receive as a child plays a large role in determining the kind of person you become as an adult. The education system consequently has a very important role to play in rooting out issues such as sexism, racism and castiesm from the coming generations of society. Schools-being the place where children, who have the privilege to receive an education, spend half their childhoods-hold in their hands the power to prevent the establishment of any kind of discriminatory attitudes in the minds of children and adolescents. And what is the means by which they attempt to shape and mold malleable young minds in order to (presumably) create free thinking citizens of the future? The lessons that the education system wishes to imbibe in their students are widely disseminated by the means of text books which have been carefully put together by expansive panels of educators in order to ensure that they are echo the values that the system wishes to instill in its students. Their text books then become the reading materials that all students are exposed to-in fact for students that do not cultivate reading as hobby, they become some of the only 'books' that they read. Text books then are an undeniable presence in the lives of every student and certainly do leave their mark on the individual.

In Fashion: Culture, Commerce, Craft, and Identity For the contributors to In Fashion: Culture, Commerce, Craft, and Identity being "in fashion" is about self-presentation; de ning how fashion is presented in the visual, written, and performing arts; and about design, craft, manufacturing, packaging, marketing and archives. The book's international cast of authors engage "in" fashion from various disciplinary, professional, and creative perspectives; i.e. Those interested in an interdisciplinary approach to fashion, i.e., the social, cultural, cross-cultural, historical, art, archival, and business aspects of fashion, as well as those concerned about sustainability and craft. For more information see brill.com Order information: Order online at brill.com The Americas: 1 (860) 350 0041 | [email protected] Outside the Americas: 44 (0) 1767 604-954 | [email protected] Submission information: brill.com/authors Titles published by Ferdinand Schöningh, Wilhelm Fink and mentis: +49 (0)7154 1327 10 | [email protected]

This research article on feminism gives an account of the interaction between a female teacher and her students at a public university in Tunja, Colombia. The study aims to evidence features of feminism within an English as a foreign language classroom by analyzing the transcriptions of the teacher’s discourse using the Feminist Poststructuralist Discourse Analysis. As a result of the study, it can be stated that feminism is not determined by gender, but rather, it is an individual choice that is socially constructed and transmitted through power relationships. Findings suggest that being female or male does not guarantee having a definite position towards feminism; instead, it is mostly demarcated by the specific situations and circumstances that each individual experiences within a society.

Sweden, France, Canada, Mexico, Luxembourg, Spain have all adopted Feminist Foreign Policies. How did they get there? A new report exploring trajectories to Feminist Foreign Policy, by International Women’s Development Agency (IWDA). Includes my collaboration for the Mexican case.

This paper explores parasocial phenomena on social media pages related to Spanish television fiction by analysing the development of parasociality through relationships established between users and characters and the characteristics of this type of online community. The sample consisted of 4,762 spontaneous comments posted on social media pages (1,598 on Facebook and 3,164 on Twitter) linked to television series. Comments published between 1 January 2018 and 31 May 2020 were compiled the day after the premiere of each fiction. Our findings confirm those of previous researchs on the similarity between parasocial relationships with fictional characters and relationships in real life. This study also substantiates that women's comments show a greater tendency to draw associations between parasocial relationships and daily life. We also find a link between programme longevity and audience success on the one hand, and the intensity of parasocial relationships with the characters on the other. The relationships among community members reveal a degree of narcissism, prompting more self-disclosure than interaction with the rest of the users. Therefore, such relationships are closer to consociality (Kozinets, 2015) than parasociality, although significant differences concerning gender identity are also found in this context.

Cultural narratives of digital technology in architecture rely heavily upon stories of unique, almost always male, genius and often deny the collective intellectual labor of technology's construction. These narratives are perpetuated by a historical record which does not fully address the contributions of women to the history of digital technology. Because this history is not well-documented, there is an opportunity to represent these events in a manner which is more inclusive and equitable. Toward that end, this article focuses on narratives from the SOM Computing Group (1964-1990), as a means of correcting the historical record and addressing gender equity in the profession. The interviews collected here highlight several women who helped to integrate technologies into architecture through professional experimentation and cross-disciplinary collaboration. While it is not a comprehensive history, this work represents the beginning of an agenda to produce a history of technology in architecture which better reflects the contributions of women to the digital designs of today.

Diverse women’s social backgrounds, family relationships, educational achievements, personal experiences, and religious preferences have shaped their perception of and participation in the women’s rights movement, their understanding of gender roles, and their involvement in politics. Sister Donna Schroeder, Sister Katherine McLaughlin, Teresa Mary Gould, and Lynne Hamre are four different women with four different voices. Despite their differences, these women hold in common their observation of women’s submission to the hegemony of a patriarchal society throughout history. One of the four women interviewed was born in the 1960’s and the other three were born in the 1930’s. Collectively, they have lived through the consequences of the Great Depression, World War II, the Communist hysteria of the 1980’s, and the controversies behind the women’s rights movement

The present catalogue text discerns between two kinds of eco-centric works the Austrian artist Herwig Scherabon presented in his latest solo exhibition “Against Nature“ (July 2021, Berlin Neukölln): landscapist and objectivist. Whereas Herwig's landscapist works are both nets-of and knots-in, and thus ontology-wise rather conventional; his objectivist works are ontologically most striking as they exclusively are nets, but no knots. For this reason, they are focused on here. The artist conjures these singular existences by means of black space that is isolating, yet not weakening, but rather empowering, even “monstrouizing“ them. In so existing, they emit an ontologically provocative statement: Distance is not debilitating, but rather an invitation to become.

This essay discusses the historical origins of the witchcraft trial phenomenon, its roots, and the causes for its occurrence in New England from a historical, social, anthropological, and gender perspective. Salem witchcraft had its roots in Europe and in order to understand it one should comprehend the worldview of late-seventeenth-century Puritan New Englanders, who lived in a pre-Enlightenment world. As many historians and researchers have pointed out the people of Salem experienced a number of hardships at the time of the witch trials, such as economic struggles, disease epidemics, war, political dissension, and factionalism and thus the Salem witchcraft trials cannot be described apart from its social, cultural, theological, economic, and political contexts. Moreover, understanding the geographical and chronological phases of the trials and investigations is important. Finally, it is interesting to see how growing awareness of feminist perspectives on history, have generated a new feminist interpretation of the witchcraft trials.

In this article, I have analysed how women are not seen in leadership positions on Nepali Child Rights Networks historically and light questioning the commitment of Nepali Child Rights on Inclusion, Women's Empowerment, Intersectional and GESI approach they have been promoting for the last 4 decades. The article is both in Nepali and English language and it is published by NDI.

This book review of Emma Young's important monograph calls for more inclusivity in short story theory.
Article also accessible here: https://academic.oup.com/cww/article/14/1/144/5316465

Contemporary Women's Writing, Volume 14, Issue 1, March 2020, Pages 144–146, https://doi.org/10.1093/cww/vpy028

"Why feminist? Why postmodernist? A preface
Halah Afshar, giving a talk entitled 'Ferninisms, Islamophobia and Identities' at the Feminist and Women's Studies Association Conference, UK (2006), emphasised her sense of having a mobile and shifting self-identity (though she also felt that this was being undermined by an ignorant post-9/ 11 reductionism which equates 'Muslim' with 'terrorist' - a terrible new wave of Islamophobia). Her own sense of self, she suggested, was fluid: in York she was the 'exotic Persian'; in Turkey she became the infidel- the 'sinner' (because her feminist approach to the Koran, which emphasises that intermediaries who dictate how it should be understood are themselves sinning, was seen as 'heretical'). On a school day she is 'mum', and on arriving at the conference in Bradford she was, to the ticket collector, she thought, merely 'another bloody Paki'. Of course, some of this is supposition and rather passive in tone; she is seen and she is interpreted. None of us knows for sure how we are being viewed unless told, but this is how she sees herself: as having multiple identities constantly changing in different contexts. Arguably, postmodernism has enabled us to conceptualise ourselves differently and in a more fragmented, multifaceted manner. This need not be conceptualised as a passive process, and we may emphasise our different identities in different contexts, and different locations may invoke different aspects of ourselves (Hogan and Pink 2010). "

On April 8, 1976, a women’s cooperative comprising eleven members variously active in the field of art inaugurated a self-run art gallery in Rome’s city center, at Via Beato Angelico 18. Surprisingly, instead of showing works from the members’ own production, the inaugural exhibition of the Cooperativa Beato Angelico (CBA) brought a baroque artist before the public: Artemisia Gentileschi’s painting Aurora (ca. 1627) was installed on an easel and accompanied by a leaflet featuring archival and bibliographical references. Starting from this remarkable opening, this essay explores the CBA’s expository and archival practices, which were specifically directed at works by female artists past and present. Building on previous research on the cooperative and re-engaging with archival sources and oral memory, I newly focus on the temporal dimensions of the initiative’s activities. First, I unravel the ways in which the CBA participated in countering the structural imbalance of the art-historical canon – a concerted effort effected by the increasing popularization of feminist ideas in the art field at the time. Second, and more importantly, I argue that the cooperative’s distinctive handling of the temporary exhibition and the archive translated into a rejection of conventional models of history-writing. If read in relation to the questioning of chronological and dialectical notions of progress conceptualized in the ambit of 1970s separatist feminism, the CBA’s historiographical tactic – based on a non-linear interweaving of past and present positions – loses its apparent contingency and can instead be reassessed as a focused disruption of the continuum of men’s history. I conclude that women artists from different times, ‘presentified’ and re-signified in the CBA’s exhibitions and archive, thus came to embody feminist thinker Carla Lonzi’s idea of woman as the “unexpected subject”.

CATALOGUE D'EXPOSITION - Galerie Pauline Pavec

En 1919, Marcel Duchamp offrait à son ami et mécène Walter Arensberg, l’Air de Paris enfermé dans une ampoule. Par ce geste, par ce ready-made où ce que l’on inhale est déterminé et porté au rang d’art, l’artiste français, père de l’art contemporain, ouvre la voie à une sacralisation plastique de ce qui se respire et s’établit : l’effluve. En la choisissant comme médium, en lui permettant l’entrée au panthéon des matériaux explorés par le vingtième siècle, Duchamp met en lumière combien la valeur artistique de l’odeur est estimable. Immatériel précieux, elle révèle les émotions, ravive la mémoire et lie ce qui s’hume à la grande tradition du sacré.

Dans Odore, les œuvres présentées, toutes référant aux émanations, dessinent un voyage introspectif et interrogent la première attache qui a ramené les exhalaisons tout près des êtres humains, leur prédisant l’accessibilité à un autre monde. Les Grec.que.s et les Romain.e.s couvraient leurs statues d’onctions, laissant aux effluves le soin d’envoyer leurs prières au divin; les sorcières et les herboristes manipulaient les plantes en extrayant leurs essences ; les chamans chargeaient les fumées de la promesse d’une traversée mystique.

Les artistes contemporain.e.s, magicien.ne.s et alchimistes d’aujourd’hui, voient leur pratique et leur personne entrer en résonance avec la sacralisation des institutions culturelles. Le musée devenu lieu de pèlerinage sanctifie l’artiste, qui semble pouvoir y être accueilli en odeur de sainteté. Alors, le lien au sacré se fait par une forme de mystification de l’œuvre et de son.sa créateur.rice et certains travaux odorants aux allures autobiographiques, pourraient être observés comme de véritables reliques.

Cette notion de relique olfactive s’envisage également par des morceaux de chairs qui rappellent des instants vécus, qui poussent à éprouver et qui destinent à ressentir. Car l’odeur permet l’évocation, une évocation intime, viscérale, qu’il n’est pas nécessaire de verbaliser, mais que l’on porte en soi, que l’on chérit, comme on le ferait des croyances, des prières et des souvenirs olfactifs personnels qui tissent la grande histoire.

Cosa significa protestare per le strade, perché occupare uno spazio nella città? Veniamo da un recente risveglio, da anni che hanno riportato la politica nelle piazze e nelle strade. In tutto il mondo uomini e donne sono scesi in piazza manifestando un'urgenza condivisa di resistenza, di riappropriazione degli spazi e della capacità di agire e fare politica a partire dalle vite. Come comprendere la specificità di queste esperienze? Perché chiamarle rivolte urbane e non rivoluzioni? Quali sono gli strumenti per leggere una rivolta senza astrarre, generalizzare, neutralizzare? Stare per le strade è la pratica di 'stasis' che crea lo spazio per la rivolta e contemporaneamente dispone un modo affettivo di vivere lo spazio urbano. Durante una protesta, la corporeità è esposta in tutta la sua intensità appassionata e vulnerabile. Il corpo al centro permette di cogliere la relazione che questi eventi intessono con gli spazi urbani, il nuovo senso della politica che propongono e i rapporti tra uomini e donne nel momento della protesta.

Pretendo compreender o lugar do lugar de fala como uma dimensão espacial constitutiva dos atuais conflitos discursivos em torno da produção e da legitimação de saberes e de a quem se atribuem  autoridade e credibilidade. Comparo as discussões em torno de outros “enunciados situados”, anteriormente conduzidas pelos estudos subalternos, pelos feminismos e pela literatura decolonial, com o debate sobre o lugar no campo da geografia. Finalizo com comentários inconclusivos e questões em aberto sobre o lugar do lugar de fala, com vista a análises futuras.

Palavras-chave: lugar de fala; enunciados situados; lugar; geografia; subalterno.

The American feminist writer and activist Betty Friedan, in her canonical work Feminine Mystique (1963), vocalizes the discontentment and estrangement of mid-century American women. After World War II, many women with small children had to leave their jobs due to the drastic decline in both wages and wartime, government-supported childcare facilities. These women were asked to give up the image of Rosie the Riveter and be “gaily content in a world of bedroom and kitchen, sex, babies, and home” (Friedan, 1963). Almost two decades before Frieden, housewife‐mother‐writer Shirley Jackson (1916–1965) protested this celebration of domestic idealism by depicting the specifically female experience of white middle‐class women in mid‐century America. In between bearing and raising four children, Jackson wrote six novels, two memoirs about childrearing, four children’s books, and dozens of short stories. Both her Gothic novels and domestic stories encompass the feelings of guilt and fear that permeate the lives of all women in a society of domesticity. Whether married or unmarried, all women clearly suffered from the “problem that had no name” (Friedan, 1963): the silent discontent mirrored in Jackson’s domestic fiction and bubbling just beneath the surface of placid peacetime American society. We will
explore this protest against the often cruel and violent, post-war American patriarchy, in two of Jackson’s stories: “The Renegade” and “Flower Garden.”

In the summer of 1990, a four-storey tenement of council flats in the Castlemilk district of Glasgow was home to an unusual work in progress. A group of artists, led by three graduates of the Glasgow School of Art, created installations in the rooms of these flats as well as holding workshops free workshops for women. In an area described by the city council as a priority for urban regeneration, it was peripheral to the circuit of event venues for Glasgow’s much-publicised status as European City of Culture in 1990. This ambitious collaborative undertaking was Castlemilk Womanhouse. The initiative was to exist, in various forms, for a further five years. 
My aim in this study is firstly to excavate this overlooked example of feminist artistic collectivity and write Castlemilk Womanhouse into art history.  Secondly, I wish to evaluate Castlemilk Womanhouse’s legacy on a wider geographical scale than was possible for  House Work Castle Milk Woman House , and to consider it in relation to a feminist art intervention that not only influenced Castlemilk Womanhouse’s own emergence, but has a canonical status within feminist art history: namely, Womanhouse, Los Angeles (1971– 2).
Until now, there has been no sustained art-historical consideration of Castlemilk Womanhouse. However, in autumn 2014 there will be an exhibition ‘House Work Castle Milk Woman House’ on the project and its legacy at Glasgow Women’s Library, including a newly commissioned work by Glasgow-based artist Kate Davis. This Masters dissertation has been produced concurrently with preparation for this exhibition, and I have provided curatorial assistance to the organisers.

«The sulphurous actress», «L’enfant perdue du cinéma», «The woman of Last tango»: this is how media have defined Maria Schneider, the french actress who gained international renown for her performance in Last tango in Paris, at the age of 19. The role written by Bertolucci undoubtedly marked Schneider’s image and turned this fresh girl-woman into the rebel icon of free love (Cari genitori) and the symbol of female emancipation (Io sono mia). During her meteoric passage through European stardom, Schneider scandalized also italian conservative society. My paper focuses not only on the actress’s persona, but also on the reception of Schneider’s sexual life in the Italian press, which compared the actress to Juliette Lorsange, the nymphomaniac De Sade’s character.

Cette étude porte sur la féminitude de la négritude senghorienne à travers son poème « Femme noire » [2] tiré de son premier recueil, Chants d'ombres. La féminitude selon le dictionnaire Le Nouveau Petit Robert [3] est « d'après négritude caractère propre à l'ensemble des femmes ». On peut donc voir que la féminitude trouve sa dérivation et sa composition de la négritude. Il s'agit de « femme » ou « féminine » et « tude » comme « nègre » et « tude ». La négritude, mot qui remonte à Aimé Césaire, est exprimée et développée par les trois mousquetaires précurseurs-Aimé Césaire, Léon Gontran Damas et Léopold Sédar Senghor. La féminitude a affaire avec la femme. Ce mot, considéré comme un néologisme, remonte à Simone de Beauvoir. Selon Abiola Abrams, féminitude c'est « reactive feminism » ou « exalting femaleness ». La négritude est l'ensemble des valeurs de civilisation du monde noir, telles qu'elles s'expriment dans la vie et dans les oeuvres des Noirs [4].

This study investigates how age, gender, social class and dialect influence how frequently speakers of British English use intensifiers (e.g. 'very') in private conversations and whether this has changed over the last two decades. With data drawn from over 600 speakers and 4 M. words included in the British National Corpus 1994 and 2014, it is the most comprehensive study of intensifier usage to date, taking into account 111 intensifier variants. Results show that, in most age groups and social classes, men use intensifiers less frequently than women, and gender differences have diminished to a very limited extent, notably for the middle class. Moreover, intensification rate has increased across the board over time. This could be due to a shift towards a stereotypically more feminine communicative style as the perception of gender roles has changed, a process by which the middle class might have been particularly affected.

With my fingers too, rather than with my eyes, I read these poems. Ionic volutes-delicate and ringed-white shells with the inner side of pearl-indented cup with the chiseling as fine as the pattern of the under-leaf lining of the wine itself … all this-more and much more-and to concentrate my senses, struggling now with faint, exotic perfumes, pungent and stimulating, not quite familiar, with colours, rose and the violet of the rainbow, I close my eyes and with my fingers like one blind would find my way about this poetry.

En la investigación propuse problematizar sobre las condiciones históricas del trabajo en la producción de conocimiento de mujeres latinoamericanas. Es decir, busqué comprender qué tipo de organización social, económica y política sostienen las actuales condiciones de trabajo de las mujeres en la producción de conocimiento. Al estar situada en Latinoamérica, se desprenden del problema de investigación temas como la colonialidad, el patriarcado y el capitalismo, que serán transversales en toda la tesis. Propongo la existencia de un triple solapamiento en las condiciones de trabajo en la producción de conocimiento, lo cual desarrollaré a lo largo de la tesis.

La base teórica conceptual se sustenta principalmente en la teoría crítica latinoamericana y en la teoría feminista. La teoría crítica latinoamericana hace referencia a una gran cantidad de ideas, investigaciones y reflexiones que desde una praxis política han aportado para pensar nuestras herencias históricas, el lugar en el sistema capitalista contemporáneo, vinculaciones y conexiones en procesos locales, regionales y mundiales, las desigualdades sociales por clase, sexo o racialidad, así como posibles propuestas para generar cambios y transformaciones sociales. Dentro de la teoría feminista, retomo aportes de muchas autoras e investigaciones que forman parte de las producciones teóricas y metodológicas feministas, pero fundamentalmente he buscado apoyarme y dialogar con los desarrollos teóricos, prácticos y políticos del feminismo crítico latinoamericano.

Para realizar el proceso de historización elegí la genealogía como método en el marco de la investigación feminista. La genealogía permite el análisis de las condiciones de vida y prácticas sociales para comprender cómo se constituyen los y las sujetas en el entramado de las relaciones de poder y estructuras sociales. No se trata de buscar una narración lineal de los acontecimientos sino de ubicar en la discontinuidad, en lo singular y en la multiplicidad, las disputas de ideas y prácticas que generan, fracturan o reproducen construcciones sociales. Los trazos genealógicos que dan organización a la tesis, son justamente eso, situar en las discontinuidades de la historia acontecimientos, conflictos, singularidades y pluralidades que nos permitan develar y comprender las condiciones históricas y sus entramados, para que, reconstruyendo trazos de nuestra memoria histórica colectiva, logremos revisar con más luz nuestro presente.

Carole Pateman jest znana na wielu polach badawczych: idei demokracji, problemu zobowiązania politycznego czy krytyki liberalizmu. Jej teoria polityczna przynależy również do tradycji feministycznej. W tym obszarze C. Pateman stawia tezę o występowaniu współzależności pomiędzy patriarchatem a umową społeczną. W celu uzasadnienia tej hipotezy badaczka poddaje analizie i przewartościowaniu klasyczną myśl polityczną. Jedną z teorii, którą na nowo interpretuje, jest filozofia Thomasa Hobbesa. Autor Lewiatana zajmuje oryginalne stanowisko w kwestii kobiet, a ich rolę społeczną łączy spójnie z konstrukcją całego systemu politycznego. Zdaniem C. Pateman myśl Hobbesa stanowi punkt wyjścia do kształtowania się nowoczesnej formy patriarchalizmu. Artykuł przedstawia tę interpretację, a w szczególności poglądy T. Hobbesa na temat kobiet oraz tego, w jaki sposób jego teoria polityczna gwarantuje obowiązywanie i uniwersalizm prawa patriarchalnego.

Virginia Woolf in her seminal work - A Room of One's Own, takes up the issue of women's subjugation in the field of literature. Women writers had to spend years hiding behind the pseudonyms they had to take up forcefully. The paper discusses the struggle of women's writing with special emphasis on Woolf's character- Judith Shakespeare.

The Project: Why theory? Why not just practice? Why are the two so often held apart? This course seeks to engage you in not just the texts, but the operations of Feminist Theory: how the discourse took shape, what its shifts have been, and how it how continues to articulate multiple feminisms. In doing so, we will read, think through and discuss the concept of theory itself, class and materialism, Black feminism, violence, Chicana and Mujerista feminism, gender, Asian-American feminism, sexuality and sexual identity, French feminism, Postcolonial feminism, Native American feminism, Islamic feminism, sex and gender identity, and disability studies, and feminist science and technology. Feminist theory shapes experience and is shaped by experience: lets see how this fascinating and powerful dynamic works.

Rokeya waged a persistent struggle for female education braving the social norms and barriers that dictated an all-male presence in education and stood between women and intellectual culture. She did not believe in any disparity or discipline differences between male and female education and sought women's access invariably to all branches of knowledge. For these and many other reasons, Rokeya's greatness as a social thinker and advocate of women's rights may remain unsurpassed for a long period to come. People who use feminism to vent their prejudices and to satisfy their predilections may come and go, but Rokeya's sincerity, courage, hard work and sense of purpose will stand tall and long.

La luz es uno de los recursos cinematográficos centrales en la conformación de la narrativa audiovisual y la identidad de los personajes. En el presente artículo se reflexionará en torno al papel de la luz – y de la sombra-en la construcción de los personajes transgénero/transexuales/intersexuales en el cine. La luz ejerce un papel vital en determinar qué cuerpos se ajustan a la normatividad de género y qué cuerpos transitan dichas fronteras en el seno de las producciones cinematográficas. Así pues, la principal misión de esta pequeña reflexión será la de identificar cómo los personajes de los films establecen sus relaciones con las luces y las sombras a la hora de construir o definir sus cuerpos, y situarse en el entramado social. Abstract The light is one of the central cinematographic resources in the conformation of audiovisual narrative and characters' identity. In this article we will reflect on the role of light-and shadow-in the construction of transgender/transsexual/intersex characters in cinema. Light plays a vital role in determining which bodies conform to gender norms and which bodies transit these boundaries within film productions. Therefore, the main mission of this reflection will be to identify how the characters of films establish their relations with lights and shadows when it comes to building or defining their bodies, and to situate themselves in the social sphere.