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Book review of Consuming Painting: Food and the Feminine in Impressionist Paris by Allison Deutsch. The Pennsylvania State University Press, February 2021. 216 p. ill. ISBN 978-0-271-08723-8 (h/c), $94.95. https://www.psupress.org/books/titles/978-0-271-08723-8.html. Reviewed May 2022 by Carling Spinney, Reference Assistant, Queen’s University Library, carling.spinney@queensu.ca.

Estudio preliminar

Invited contribution to the book-catalog "Libros y autores del virreinato del Perú (1542-1824)" [Books and authors of the Viceroyalty of Peru] that accompanies the one-year exhibit (same title as the book) at the Instituto Cervantes in Madrid (Spain). The exhibit can be visited from September 2021-September 2022. This chapter addresses the cultural production of women In Peru beyond the traditional literary activities. It includes a review of secular women's voices and writings to be found in archives of colonial Peru around the world (legal documents, last wills, diaries, among other genres), their interests, and the themes they wrote about. One finds holy laywomen (beatas like Angela de Carranza), Inca noblewomen (Inés Huaylas Yupanqui, Beatriz Clara Coya, María Coya Cusi Huarcay, Manuela Topa Amaro, María Joaquina Uchu Inca, among others). The illustrations included in the chapter are examples of the ideal representation of coyas, Inca noblewomen, during these centuries.

In this chapter, I connect my experience with abuse and intimate partner violence with my research projects and then radically changing my pedagogy away from coercion towards empathy.

In this chapter, Amanda Kane Rooks argues that Sue Miller's American novel The Good Mother provides an illustration of the way motherhood and female sexuality continued to serve as key sites of patriarchal control over women in the late twentieth century, despite the alleged freedoms won for women in the wake of the feminist and sexual liberation movements. More specifically, Rooks argues that Miller's novel provides a disruption of the borders between mothering and eroticism in a way that brings to light the cultural anxieties that continue to surround these aspects of female experience.

"Ted Joans in White Beat Context" explores Joans as a Black man escaped from souther racial atrocities to northern self- acclimation in white Beat culture-, accepting them uncritically as the fit worked for him--his own narcism and the forms it took--, even as he was never embraced as an equal among the luminaries..

Hindi cinema has been the most celebrated form of entertainment source around the world and since time immemorial. Behind the lyrics of pseudo romantic songs, dialogues, scenes of love and affection display, courtship, and so on, sexual harassment has been seen spreading it’s sickening aura to create some of the meanest examples in Hindi cinema. Sexual harassment has been a topic of worry and concern and has been accumulating a lot of attention in the recent decades. This paper examines in details the portrayal of sexual harassment with no regard to gender explicitly portrayed by famous actors in selected Hindi films, applying the qualitative methodology of textual analysis theory. The paper also gives some of the real life incidents of sexual harassment as experienced by celebrities mostly focusing on the recent #MeToo movement. The findings of the paper reveal that in films, the display of sexual harassment by men towards women ultimately ends up in a love story and by women towards men in quitting.

s for the panel "Graphic Atwood" proposed by the Margaret Atwood Society for the 2020 MLA Convention.

This review examines Judith K. Brodsky and Ferris Olin's book Junctures in Women's Leadership: The Arts, published by Rutgers University Press in 2018.

Can online tools address gender bias in classics? Through two case studies, this article explores the use of crowd-sourcing in order to develop digital tools that amplify women and provide them with a firmer online identity. The first, Wikipedia.org, is already entrenched in the popular research realm, and the second, WOAH (Women of Ancient History), is currently being developed as a reference tool. Wikipedia.org is the most influential source of knowledge in the world, but it has a stubborn gender bias against women. This distortion is particularly evident in the field of classics, where prior to 2017 only 7% of biographies of classicists featured women. Here, ‘classics’ is an inclusive term, and is broadly conceived to include the field of Late Antiquity. This short article details how the Women’s Classical Committee (UK)’s Wikipedia editing initiative, #WCCWiki, and the development of WOAH, have successfully increased the visibility of women online. Consequently, it offers a model to mobilize change with few physical or financial resources, but rather facilitated by digital tools and social media. Through digital feminist activism, there is the potential to reverse the gender skew of classicists online and in the public discourse, while also creating an inclusive space that is professional, proactive, and accessible to all.

In this article I consider the stories of Jesus’ women ancestors in the genealogy which opens the Gospel of Matthew. Reading these stories in light of Marxist-feminist analyses of marriage, sex work and reproductive labor, alongside contemporary sex workers’ rights discourse, and through Marcella Althaus-Reid’s claim that all theology is “a sexual act”, I explore their implications for contemporary debates about property and propriety in both Christian systematic theology and contemporary Christian sexual ethics – which cannot, of course, be disentangled from one another. To conclude, I return to the twinned questions of righteousness and purity which centrally define both theological accounts of Christian identity and Christian sexual ethics, suggesting that righteousness relies for its coherence not only on the abjection of those who fall short of its standards, but also on their labor.

Lagertha's sisters. About female fighters in (pre)history and womens' weapon graves in Northern Europe. While for quite some time fighting women have been a fixed part of western pop culture and thus a normal sight for younger people, historical science has so far not been paying any particular attention to them. Although historiography names numerous examples of fighting women, warrioresses and female soldiers, the subject has not received any notable attention within this discipline. Prehistoric Archaeology has been dealing even less with this topos. Despite recent definitive findings of Iron Age weapons graves in Scandinavia and in the United Kingdom, interpreting them as "warrioresses" seems problematic to some scientists, particularly in Archaeology. There seems to be a disinclination towards the image of women at arms, regardless of multiple historical examples and archaeological features. It is often argued that there is no historical evidence for fighting women which, as a matter of fact, is simply not correct. The paper aims at providing researchers with an initial look at women's combatant activities in the past. Furthermore, it asks why this theme seems so problematic to archaeological research. This reveals a fundamental methodological issue of Archaeology which dates back to the 19th century. Keywords: England; Scandinavia; woman‘s grave; method; Medieval; Iron-Age; sword finds; weapon graves; warrioress; shieldmaiden; Lagertha; Vikings; Viking-Age;Japan; ninja; onna-bugeisha; samurai; crusade; raid; campaign; war.

Across time, in a variety of forms and spaces -from homes and workplaces to digital domains of social media- women have become victims of male dominance. So also are the other vulnerable sections that suffer multi-layered abuse, and endure sexual harassment in social media. Yet, this phenomenon is insufficiently explored. Therefore, this article argues that social media spaces have become domains for sexual harassment and subjugation of women. This article examines gender-trolling on Twitter as a form of sexual violence against women. Employing qualitative analyses of the Twitter conversations on Indian journalists, namely Barkha Dutt, Sagarika Ghose, and Rana Ayyub, it exposes the nature and form of sexual violence against women on the micro-blogging space, and argues that social media platforms constitute convenient havens of harassment against assertive women

The present paper aims at analyzing the inevitable relationship of patriarchal impunity with counterpublic in India with reference to Onaatah of the Earth (2017) by Paulami Duttagupta. It is apparent that much of the discourse on counterpublic emphasizes on either countering the existing state agencies as mentioned by Nancy Frazer where she critiques the exclusionary practices of bourgeois public sphere labeling the process as undemocratic or advocating locational counterpublic to uplift the subalterns to establish democracy discussed by Kanika Batra. However, not much has been discussed about the exclusion of discourses critiquing impunity which forms an essential background to establish a correlation between patriarchal impunity and the counterpublic. Thus, the paper attempts to examine bourgeois public sphere mainly as a patriarchal discursive arena disseminating and strengthening the idea of impunity granted, especially in cases of sexual violence within the framework of Habermas’s public sphere. The study also focuses on how the novel Onaatah of the Earth acts as a counterpublic to undermine or neutralize the impunity by addressing issues related to gender sensitivity bringing them forth not only in discursive space but in activism too.

The #MeToo and #TimesUp movements are sexual misconduct survivor movements, interrogating in particular the entertainment and media industries. These movements aim to dismantle power structures in these industries by raising-up systemically silenced voices of victims (survivors) of sexual misconduct. I analyze comedian Louis CK's apology for his own sexual misconduct as an exemplar text, and argue that that there are good feminist reasons for these movements to critically engage with his perpetrator statement. As such, the argument that I propose here-that certain perpetrator explanations are legitimate to these movements-is tendentious. I will support my argument by making an appeal to feminist social theory, which focuses on the cultural factors contributing to sexual misconduct. If my argument is compelling, then other perpetrator statements could also be integral to the movement's aims.

Hinging on the concept of transvestism, this article traces a trajectory that goes from Alfonsina Storni’s re-appropriation of the women’s page in the guise of a male persona, through Alejo Carpentier’s contributions to a fashion column disguised as Jacqueline, to Clarice Lispector’s unsettling use of the page addressed specifically to women in two Brazilian newspapers from 1959 to 1961.

Elizabeth Barrett Browning’s Aurora Leigh seeks to redress the divisive work of women’s democratic political representation by way of poetic form to ask whether women must always be regarded as partial citizens. Women are not counted as integral units—ones—politically or culturally. Barrett Browning connects women’s ability to produce writing and children to formulate a corrective political relationship between women’s being halves and pieces on the one hand and their capacity for generativity on the other. Constructing a parallel between Aurora’s poetic body and the body of a rape victim, Barrett Browning makes the point that for women being counted politically always involves a divided self. Refusing to understand citizenship as either the elimination of individuality or as the fusion of individuals into a mass, Barrett Browning uses poetic form to construct a political wholeness that is at once not satisfying, for it requires the acknowledgement of the inequities that women endure, and preferable to a totalizing democratic citizenship that boils all voices down to the tyrannical majority.

This essay examined the relationship between P&D and feminism in American contemporary art. It was part of the exhibition catalogue for the 2018-2020 exhibition "Pattern and Decoration: Ornament as Promise," co-organized by the Ludwig Forum für Internationale Kunst (Ludwig Forum) and the Museum moderner Kunst Stiftung Ludwig Vienna (mumok) and also exhibited at the Ludwig Múzeum (Ludwig Museum of Contemporary Art, Budapest).

This article examines Leslie Marmon Silko's Ceremony alongside Ben Fountain's Billy Lynn's Long Halftime Walk to reveal the centrality of women's textual presence in postwar narratives. While Silko's novel incorporates female perspectives to construct productive and generative narratives, Fountain's provides a warning about the sterile, ultimately destructive narratives produced when female voices are suppressed. Focusing on the formal elements of narrative focalization in both novels, I argue that women's voices have the power to rethink the region 's intractable conceptual and geographical boundaries by configuring the American West as a regenerative space of reentry. The destroyers had only to set it into motion, and to sit back to count the casualties. But it was more than a body count; the lies devoured white hearts, and for more than two hundred years white people had worked to fill their emptiness; they tried to glut the hollowness with patriotic wars and with great technology and the wealth it brought. And always they had been fooling themselves, and they knew it. -- Leslie Marmon Silko, Ceremony (1977) Maybe the halftime show is as real as anything; what if some power or potent agency lives in it? Not a show but a means to something, something conferred or invoked. A ceremony. -- Ben Fountain, Billy Lynn's Long Halftime Walk (2012) Tayo, the protagonist of Leslie Marmon Silko's Ceremony, has an epiphany as he cuts away at the fence on a white rancher's property, attempting to reclaim his stolen cattle: destroyers are not white people, but rather witches who have "fooled everyone," even white people who "would never be able to understand how they had been used by the witchery" (177). Tayo realizes that this destruction is worse than physical annihilation; it has "devoured white hearts" (178), plundering their lived experience and setting into motion acts of war, empty declarations of patriotism, and attempts at innovation, all to make meaningful their hollowed-out existence. As if proving Tayo's point decades later, the title character of Billy Lynn's Long Halftime Walk reflects on the 2004 Dallas Cowboys' Thanksgiving Day halftime show, meant to honor him and fellow "Bravo" Squad members. Billy Lynn, a white soldier on a two-week Victory Tour around the US before redeploying to Iraq, wonders if he may be missing "some power" in the show and tries to convince himself there is more than meets the eye in this spectacle; perhaps it is a meaningful "ceremony" (235). These two characters demonstrate the ways that Silko's Ceremony can inform twenty-first-century narratives, particularly those of soldiers' homecomings. Reading Ceremony alongside Billy Lynn's Long Hal/time Walk, I argue, provides both a model for and a warning about ways to craft postwar narratives of reentry. (1) Silko incorporates female perspectives to construct productive and generative narratives, whereas Fountain provides a warning about the sterile, ultimately destructive narratives produced when female voices are suppressed. Silko strategically inserts counter-perspectives into the narrative through the third-person narrator's brief focalizing through characters other than Tayo. Her narrative technique of focalizing through female perspectives, in particular, provides a useful way of rethinking the West as a point of origin by resituating the region as a point of reentry. Although most of the story is told from Tayo's perspective, these brief and somewhat anomalous voices give us a different view of the events, thereby infusing the story with an awareness of the destructive potential of deterministic, one-sided narratives. Through this narrative technique, Silko illustrates the ways that our lived experience takes shape through the stories we tell; by extension, these stories have the power to infuse the West with political and cultural significance. For instance, Tayo's story of homecoming and the ceremony that restores him to health, allowing for his reentry into the Laguna community, makes clear that the West is a region that is always being reinvented through retellings. …

Talitha LeFlouria’s Chained in Silence: Black Women and Convict Labor in the New South ambitiously takes on the task of highlighting the roles that black women played in the modernization of the Georgian economy and culture in the late 19th and early 20th centuries; roles that were products of material and ideological circumstances as well as acts of resistance against hegemonic class and racial forces. LeFlouria carves out a space for her study of black women distinct from other scholarship on oppressive convict labor systems in the New South. Relying on a detailed reading of periodical records, primary sources, and historiography, LeFlouria conveys the unique economic and cultural experiences of black women in Georgia, who through choice and circumstance, end up involuntarily providing an invisible, exploitive form of labor for rebuilding the Empire State of the South. Georgia’s particular system of convict labor –a partnership between the state and capitalist interests to develop and sustain an exploitative, profitable, and renewable labor force –comes to serve as a way of modernizing state and private institutions through the continued oppression of black women’s labor, bodies, and identity.

How does a woman become a whore? What are the discursive dynamics making a woman a whore? And, more importantly, what are the discursive mechanics of unmaking? In Women and Shakespeare’s Cuckoldry Plays: Shifting Narratives of Marital Betrayal, Cristina León Alfar pursues these questions to tease out familiar cultural stories about female sexuality that recur in the form of a slander narrative throughout William Shakespeare’s work. She argues that the plays stage a structure of accusation and defense that unravels the authority of husbands to make and unmake wives. While men’s accusations are built on a foundation of political, religious, legal, and domestic discourses about men’s superiority to, and rule over, women, whose weaker natures render them perpetually suspect, women’s bonds with other women animate defenses of virtue and obedience, fidelity and love, work loose the fabric of patrilineal power that undergirds masculine privileges in marriage, and signify a discursive shift that constitutes the site of agency within a system of oppression that ought to prohibit such agency. That women’s agency in the early modern period must be tied to the formations of power that officially demand their subjection need not undermine their acts. In what Alfar calls Shakespeare’s cuckoldry plays, women’s rhetoric of defense is both subject to the discourse of sexual honor and finds a ground on which to “shift it” as women take control of and replace sexual slander with their own narratives of marital betrayal.

Analysis and scholarly editions of composer Louise Talma's works for single voice and piano.

Analysis of composer Louise Talma's music using autobiographical theory

This essay is an examination of “The World Split Open” by Ruth Rosen. Exploring various aspects of the Women’s Movement in the United States; the essay is a glimpse of female hunger for individual validation amidst collective needs of a nation.

Art critic Arlene Raven's life and work are the subject of seventeen visual and narrative essays and a chronology in this special issue of the journal Critical Matrix: The Princeton Journal of Women, Gender, and Culture.