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Engineering Without Borders of the Basque Country (ISF - MGI), we are an NGO that develops its activity in the heart of university and in intrenational cooperation for development. We aim to involve people of different studies, experiences and cultures, into a Sustainable Human Development filosophy in which science and technology serve to social and emotional ends, towards wellbeing and in harmony with nature. We are comitted to a transforming education that questions the stereotypes under which we have been educated, the recognition hierarchy of the different disciplines, the social structure under which the paths that have brought us to present have been moulded, and ultimately, the educating system. We aim for a participative education, where comprehension has to do with an inner transformation of the person, and whose work is based on solving people's real problems, with the purpose of encouraging a science and technology at the service of people. With this purpose we have published Aplicación del Enfoque de Género en Proyectos TFG y TFM (Applying a Gender Perspective on End of Degree and End of Masters Reseach Papers), which aims to be a practical guide to afront investigation with a gender perspective. In the same we enphasise the areas in which ISF-MGI works: science and technology, university and international cooperation for development, although it could be valid for any discipline. With this guide we offer some clues on how to put on our "purple glasses" and collaborate in trnasforming the university through a feminist point of view. [ABSTRACT FROM AUTHOR]

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Copyright of Zer: Journal of Communication Studies / Revista de Estudios de Comunicacion / Komunikazio Ikasketen Aldizkaria is the property of Universidad del Pais Vasco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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This paper aims to analyze the discursive strategies of Mexican digital media used to portray the actions and protagonists of the feminist protests in the context of the current administration of the Mexican federal government, known as "The 4T" ("The Fourth Transformation"). It reviews the coverage of feminist protests on emblematic dates (International Women's Day, Global Day of Action for the Legalization of Abortion, International Day for the Elimination of Violence against Women) of five digital media during the first three years of the 4T (2019-2021) from a Critical Discourse Analysis (cda) approach. The results reveal how these strategies reconfigure the object of the protest and create two opposite hubs of significance: either to validate or to sanction women's actions in the public space. [ABSTRACT FROM AUTHOR]

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Copyright of Recerca is the property of Universitat Jaume I and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Revista CS is the property of Rafael Silva Vega and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Géneros: Multidisciplinary Journal of Gender Studies is the property of Generos: Multidisciplinary Journal of Gender Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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La literatura puede legitimar o replantear imaginarios sociales. Desde ahí, este estudio propone como problema de investigación ¿cuáles son las características de la construcción de género femenino recurrentes en las novelas Rosario Tijeras y Paraíso Travel, de Jorge Franco y Luna caliente y El décimo infierno de Mempo Giardinelli? A partir de ello busca, como objetivo general, identificar, con categorías comunicológicas, las características de construcción de género femenino en las novelas ya mencionadas. Literature can legitimate or rebuild new social imaginaries. From this perspective, this research paper proposes as research question: which are the characteristics of the feminine gender constructions recurrent in the novels Rosario Tijeras and Paraíso Travel, by Jorge Franco and Luna Caliente and El décimo infierno, by Mempo Giardinelli? This paper´s general research objective is to identify the construction characteristics of the feminine gender in the novels above mentioned with communicologic categories.

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As Alison Jaggar pointed out, the second wave of feminism was a social and theoretical movement that shifted the analysis from the logics of rights and equality --an intrinsic feature of the first wave-- towards those of oppression and liberation. So while the debates on justice were prominent in some of the most influential feminist theoretical discussions of the recent years, power has become a central issue, maybe the issue, of contemporary feminism and therefore a key concept for feminist theories; notwithstanding this concept was present in these theories in a rather more implicit than explicit way since the decade of 1980. The centrality of this concept, as well as the characteristic pluralism of feminism, produces the need to identify the different understandings of power currently in use. This paper suggests a typology of feminist perspectives on power based on reviewing some of the key contributions in this field over the last four decades. Amy Allen's work focusing on the power over and power to categories is the starting (although discussed) point for this task. The resulting typology defines four perspectives of power originated in the second wave (power as resource, domination, freedom and care) and revisited since the decade of 1990 in connection with other debates such as that of the political subject. In the end, this paper aims to clarify the different and often contradictory theoretical strategies of feminism and to show what these ideas can contribute to a critical conceptualization of power. [ABSTRACT FROM AUTHOR]

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FEMALE SUBJECTIVITIES PRESENTED IN THE MOVIE “O SORRISO DE MONALISA” SUBJETIVIDADES FEMENINAS PRESENTES EL LA PELÍCULA “O SORRISO DE MONALISA” O objetivo deste artigo foi apreender minhas reflexões sobre o feminismo, a partir dos modos como somos produzidas cotidianamente pelas mídias, filmes, novelas e outros artefatos culturais que nos cercam. Por ser a subjetividade algo que é do indivíduo, formada por meio de crenças e valores, com as experiências e histórias de vida que nos formam, recorri à leitura dos trabalhos desenvolvidos por Gilles Deleuze e Félix Guattari, a fim de esmiuçar esse conceito para entender como somos subjetivados por valores que nos constituem, e às vezes nos reprimem e oprimem. Outro conceito que achei necessário para este trabalho é o de gênero. Para sua compreensão, utilizei leituras de Joan W. Scott e Tereza Lauretis. Para análise, escolhi o filme “O Sorriso de Monalisa”, pois ele retrata vários “modos tipos” de ser mulher, e nele é possível perceber as múltiplas subjetividades femininas. Do filme opto pela discussão de três modos tipos de ser mulher e os processos de subjetivação que as compõe. Este filme se passa na década de 1950 do século XX e nos faz pensar as lutas feministas empreendidas na época e seus efeitos ainda hoje. Palavras-chave: Produção de Subjetividades; Gênero; Feminismo. ABSTRACT The goal of this paper is to capture my reflections about feminism since the modes how we are daily produced by the media, movies, soap operas and other cultural artifacts that surround us. Being the subjectivity something that belongs to the individual, constituted by beliefs and values dependent on the experiences and life stories that shape us, I resorted to the literature of the works produced by Gilles Deleuze and Félix Guattari in order to scrutinize this concept to understand how we are subjectivated by values that constitute us and, sometimes, repress and oppress us. Another concept that I considered necessary for this paper is gender. For the comprehension of gender, I utilized readings of Joan W. Scott and Tereza Lauretis. For analysis I chose the movie “Mona Lisa Smile” (O Sorriso de Monalisa, in Portuguese), because it portrays various modes and types of being a women, and in this movie it is possible to realize the multiplicity of feminine subjectivities. I opt to discuss three ways of being a women pictured by the film and the processes of subjetification that compose them. This movie represents the 1950’s and make us think about the feminist struggles carried out in this time and their effects nowadays. Keywords: Production of Subjectivities; Gender; Feminism. RESUMEN El objetivo de este trabajo fue comprender mis reflexiones sobre el feminismo, a partir de los modos como somos producidos diariamente por las medias, películas, telenovelas y otros artefactos culturales que nos cercan. Por ser la subjetividad algo que es del individuo, conformada por medio de creencias y valores, con las experiencias y historias de vida que nos forman, recurrí a lectura de trabajos desarrollados por Gilles Deleuze e Félix Guattari, a fin de desmenuzar ese concepto para comprender como somos subjetivados por los valores que nos constituyen, y a veces nos reprimen e oprimen. Otro concepto que creí necesario para este trabajo es el concepto de género. Para su comprensión, elegí la película “La sonrisa de Mona Lisa” (O sorriso de Monalisa, en portugués), pues ella retrata varios “modos tipos” de ser mujer, y en ella es posible percibir las múltiples subjetividades femeninas. Del filme opto por la discusión de tres “modo tipos” de ser mujer y los procesos de subjetivación que las componen. Este filme se pasa en la década de 1950 del siglo XX y nos hace pensar en las luchas feministas emprendidas en la época y sus efectos aún hoy. Palabras clave: Producción de Subjetividades; Género; Feminismo.

Copyright of Cadernos PAGU is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Universitas. Arquitetura e Comunicação Social is the property of Centro Universitario de Brasilia, UNICEUB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Cadernos PAGU is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For a long time, Irish women's lives were strictly confined to the private domain, and women's issues were largely silenced and hidden from public knowledge. Additionally, both Church and state maintained that women should hold a certain morality, particularly relating to areas of sexuality and reproduction. As a result, until relatively recently, Irish women's issues remained largely ignored and therefore unremarked upon. This paper will examine two major areas in which Irish women's lives have traditionally been repressed: women's sexuality and domestic violence, both issues which were once considered taboo for open discussion. This paper will also discuss how these same issues are being represented in Irish chick lit novels, thus providing a frank and positive voice for these largely female issues and for the everyday experiences of women in Ireland. [ABSTRACT FROM AUTHOR]

As Alison Jaggar pointed out, the second wave of feminism was a social and theoretical movement that shifted the analysis from the logics of rights and equality —an intrinsic feature of the first wave— towards those of oppression and liberation. So while the debates on justice were prominent in some of the most influential feminist theoretical discussions of the recent years, power has become a central issue, maybe the issue, of contemporary feminism and therefore a key concept for feminist theories; notwithstanding this concept was present in these theories in a rather more implicit than explicit way since the decade of 1980. The centrality of this concept, as well as the characteristic pluralism of feminism, produces the need to identify the different understandings of power currently in use. This paper suggests a typology of feminist perspectives on power based on reviewing some of the key contributions in this field over the last four decades. Amy Allen’s work focusing on the power over and power to categories is the starting (although discussed) point for this task. The resulting typology defines four perspectives of power originated in the second wave (power as resource, domination, freedom and care) and revisited since the decade of 1990 in connection with other debates such as that of the political subject. In the end, this paper aims to clarify the different and often contradictory theoretical strategies of feminism and to show what these ideas can contribute to a critical conceptualization of power.

Feminism, motherhood and the media - historically close relations in review – We start from the premise that motherhood is a social construct increasingly linked to communication processes, especially in the voluptuous offer of advice and guidelines of what is to be a mother. Taking on from this idea, this paper seeks to situate such debate. Based on the main approaches about motherhood in feminist studies, the paper presents a state-focused approach of this research in Brazil, bringing attention to three thematic-theoretical axes and to potential topics yet to be explored in media and motherhood studies.

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The notions of stereotype, sexism and symbolic violence are not only regular categories in academic work analyzing advertisements and campaigns, but also, thanks to the militant efforts of many organizations and educational initiatives, have begun to be part of media doxy and everyday language. This paper seeks to present the observations carried out throughout almost ten years of existence of the Advertising Observatory on Sexism of the UAI's Bachelor's degree in Advertising, bearing in mind the regularities and transformations of housework depiction [ABSTRACT FROM AUTHOR]

Copyright of Sexualidad, Salud y Sociedad: Revista Latinoamericana is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente artículo analiza el carácter pionero de una de las obras clave del feminismo, El segundo sexo (1949), contribución fundamental a la filosofía feminista actual y primer marco teórico del feminismo de segunda ola. En este trabajo se analizarán los empleos de la categoría de alteridad para referirla a la existencia de las mujeres. El objetivo principal de la obra de Beauvoir es explicarnos y explicitarnos las condiciones de esa vida femenina expropiada y obligada a permanecer en la mera inmanencia. A partir de esta cuestión emergerá en el feminismo de la segunda ola la conceptualización constructivista de “género”. Exploramos, en segundo lugar, la recepción crítica de la obra de Simone de Beauvoir. La falta de reconocimiento, el descrédito y los prejuicios sexistas imposibilitaron hasta casi tres décadas después de su publicación su justa estimación crítica. Finalmente, se presta atención al des/encuentro entre dos generaciones de feministas francesas que representan la propia Simone de Beauvoir, Luce Irigaray y Michelle Le Doeuff. This article analyzes the pioneering nature of The Second Sex (1949), Simone de Beauvoir’s founding text which definitely contributed to contemporary feminist philosophy and provided the first theoretical framework for the Second Wave Feminism. Beauvoir elaborates on “alterity” as the category to refer to women’s existence. In this light, this paper first probes into the manifold usages of such category as de Beauvoir explains and renders visible the life conditions of women, who are condemned to live dispossessed and to remain immanent. It is this issue that triggers off within Second Wave feminism the constructivist theorizing of “gender”. Secondly, I explore the critical reception of de Beauvoir’s work, unacknowledged and prey to sexist discredit and biases for a long time, which eventually retarded its fair assessment three decades afterwards. Finally, the paper attests to the dis/agreement between two generations of French feminists who Simone de Beauvoir herself and Luce Irigaray and Michelle Le Doeuff represent.

Copyright of Zer: Journal of Communication Studies / Revista de Estudios de Comunicacion / Komunikazio Ikasketen Aldizkaria is the property of Universidad del Pais Vasco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Aposta is the property of Aposta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)