Search

This essay brings together creative practice and pedagogy centered on the Marshall Islands to examine how poetry and politics, used together as a critical call-and-response strategy, can contribute to the achievement of climate and nuclear justice for that country. The first part of the essay discusses my work-in-progress documentary film, Her Excellency, which focuses on the stories of women who are heads of state—in particular, the women I met and interviewed in the Marshall Islands in August 2018. The second part describes how I incorporated the film’s stories from the Marshall Islands into an ecomedia film course I taught in spring 2022. While the COVID-19 pandemic temporarily halted the film’s production, I continued my creative practice and research in the remote-learning classroom, where I established a spirit of co-inspiration with my ecomedia students. In the first half of a semester focused on the Marshall Islands, students critically and creatively considered what steps we can take to mobilize our support for the Marshallese people and for ourselves in the face of rising sea levels. Through their ecomedia projects on the Marshall Islands the students steered their audiences to navigate our entangled and problematic world, visualize our place in this world, understand the importance of feeling with islanders, and situate our lives in relation to the Marshallese. These connective relations matter to our mutual survival and mutual healing from the brutal acts of history so that we may forge paths toward livable presents and futures for all.

From 2017–2019 I was counsel representing the families in a coronial inquest which looked at Aboriginal youth deaths in the Kimberley region of Australia with a particular regard to self-harm. A coronial inquest is a judicial proceeding that investigates unexplained deaths, unusual deaths, or deaths in state custody. In this paper I consider the epistemic violence my clients experienced, and I particularly examine the potential for affect and relationality to create connectors between epistemes in the hope of a more emancipatory conception of justice. I draw on Audre Lorde's corpus as one that is worthy of serious regard in critical legal studies and useful in my work. In particular, I turn my gaze inwards and draw on Audre Lorde's creation of biomythography as a method for legal writing and legal practice, to offer an account of my role in the Inquest. Biomythography is a form of writing which grounds subjective individual and collective experience, and its interrelationship with history and myth to centre experiences of justice and injustice. In using this methodology, I consider ways the civil law, through its interpretive function and authority in the coronial jurisdiction, oppresses First Nations Australians. Through writing my biomythography I show that the Coroner's fact finding role arrives at truth in a way inherently embedded in Western knowledge systems and I regard the Coroner's truth determining function as violent. Finally, I consider the potential of affect as a connector between epistemes to create emancipatory possibilities for justice. [ABSTRACT FROM AUTHOR]

My paper aims to analyze the figure of the detective as a site of visual, political and social tension within a comparison of the main female character in three different Italian legal dramas: Il processo (2019); Circeo and La legge di Lidia Poët (2023). The analysis of the procedural framework in which three women are portrayed in dialogue with the Law is working to build a discourse aimed to overturning a traditionally male sphere and power and an idea of passivity generally associated with women. Sexuality, which is intended as a discourse able to generating speculative views on reality, operates as a mechanism triggering the staging of the pursuit of Justice. While La legge di Lidia Poët proposes a storyline with a empowered female charachter, Il processo and Circeo envision the development of the detective character trying to subvert the traditional female's victim status.

In recent years, critical studies on digital platforms have emphasized that contemporary capitalism increasingly exploits the relational and cognitive faculties of human beings as sources of value. At the same time, activist projects are emerging in order to challenge the logics of commodification, individualization and accumulation that govern digital capitalism, being grounded in values that aim to promote visibility of labor and cooperation. This article contributes the notion of "caring technologies" where care is employed as a critical lens able to uncover the kinds of productive work made invisible by capitalist logics governing mainstream digital platforms and as a value for designing digital technologies aiming at challenging these very logics. By drawing on feminist theories about domestic work, we stress the analytical and interventionist character of care insofar as it sheds light on the forms of invisible work that allows the productive system to function and a politics that values social and economic relations usually neglected in the capitalist system. Ultimately, the article elaborates on a politics of caring to confront digital capitalism, transforming care into a logic that informs activist interventions which value agential and inalienable aspects characterizing the diverse forms of labor mediated by digital technologies. [ABSTRACT FROM AUTHOR]

In the encounters between researchers, the process of doing a literature review, and feminist research with(in) mathematics education, some considerations have emerged about the importance of considering the literature review as a constitutive part of the research process. A feminist literature review is not a simple literature review procedure to be applied to research that claims to be feminist. Rather, mobilizing feminist theoretical-methodological concepts, such as situated knowledge and affect as an apparatus to operate within the phenomena, allowed us to propose a different idea. The feminist literature review can be seen-sensed as an important terrain to create relationships-encounters with both research and researchers. It allows to come closer to different ways of knowing-doing research in entanglement with the literature, mathematical practices, feminisms, human beings, languages, search engines, and so on. In this terrain, we affect and are affected by the literature, and its encounters open up for new directions-connections. In this way, we may move away from existing patriarchal, excluding norms in academia.

Copyright of Direito e Práxis 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.)

In this text, with an autobiographical methodology, we consider what it has meant for us to position ourselves as feminists in academia, inhabiting research lines and spaces in the field of Gender Studies. In our context, where universities are divided into teaching departments based on areas of knowledge, placing ourselves in a peripheral, subordinate field such as that which is termed Gender and/or Feminist Studies, as well as involving a dual task, this has positioned us at times as 'traitors' to our fields of knowledge. In this paper, we aim to go beyond analyses demonstrating the subordinate place women occupy in universities to explore how, although situating ourselves in this in–between place resulted in a dual task and has been a source of conflict, it has also been a space of escape (from the hierarchies which are the backbone of departments) and of oxygen (by enabling dialogue between knowledge and disciplines from our ethnographic perspective). [ABSTRACT FROM AUTHOR]

In this paper I explore how girls living in a community economically reliant on the extraction of fossil fuels navigate gender expectations, loyalties, ideologies and moralities within their family structures, their places of employment and their affective communities. I describe how girlhood(s) within resource dependent communities are composed of and configured through the social, political, and economic conditions of extractivism, and the social relations that exist within these material conditions. The meeting of the material conditions of resource extraction and the social relations that exist within these environments, can be understood as “zones of entanglement.” An exploration of girls’ lives within these zones of entanglement, highlights how girls maneuver within the processes of social acceptance, belonging and notions of the “good life” by engaging in various strategies that work to create opportunities, while also reinforce foreclosures. These strategies include moving between speech and silence, learning to pick their battles, taking up space, and engaging in care-work. Through engagement in various strategies girls learn to protect themselves while maintaining opportunities for hope, connection, and transformation in their own lives, and in their interdependent relationships and attachments.

Copyright of Zeitschrift für Rechtssoziologie is the property of De Gruyter 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 Sur le Journalisme, About Journalism, Sobre Jornalismo is the property of Sur le journalisme, About journalism, Sobre jornalismo 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.)

This article proposes a cross-analysis of the correspondence of Franco-Canadian writer Marie Cardinal (1928-2001) and the novel La clé sur la porte(1972) in connection with the theme of the “discours des tricots". By combining the critical tools of gender and literary genetics, I will show how the author's embrace of a taboo, marginal and banal discourse tinges her creative process with a strong subversive dimension. Thus, we will understand how this poetic choice engages Cardinal in a process of distancing himself on the one hand, and on the other hand, with regard to the issues of reception, in what way this discourse implies a global deconstruction of the feminine and so-called “écriture féminine.”

This special issue of Pacific Arts centers on the theme “Pacific Island Worlds: Transpacific Dis/Positions,” which was the topic of a two-day series of events held at the University of California, Santa Cruz (UCSC) in May 2018. This generative meeting explored Oceanic rootedness and mobility, grounded and expansive kinships, worlding, place-making, and colonial histories and their legacies. In important ways, it grew out of the “Native Pacific Cultural Studies on the Edge” symposium, also hosted by UCSC, nearly two decades earlier. “Pacific Island Worlds” was dedicated to the memory of Teresia Teaiwa, a graduate of UCSC’s History of Consciousness doctoral program (2001) who had passed away in 2017 and whose academic, activist, and creative work profoundly inspired Pacific studies scholars and artists around the world. Our introduction is a story of two conferences—moments, pauses, in an ongoing flow of historical, political, and intellectual activity.

Martine Sonnet's Atelier 62 is built on the silence of the author's father, a proletarianized artisan who never talked about his experience as a smith at Renault in Billancourt. Through the analysis of the representation of work in the text and of its impact on human life, this study aims to present possible interpretations for the silence of the smith. First, it will demonstrate that the different kinds of work are articulated in the text on two opposite symbolic poles, one linked to silence, to the non-transmitted; and the other linked to speech, to the sharing of experience, to transmission. Then, it will discuss what would be underlying this opposition, by suggesting that the silence of the smith can be explained, on the one hand, by the physical and psychological traumas suffered in his process of proletarianization; and, on the other hand, by his separation from the sphere of social (re)production, imposed by this same process. The interpretation of the social phenomena portrayed in the text will be supported by the contributions of Marxist, eco-feminist and care ethic theorists who all converge in the criticism of the capitalist logic and its search for economic growth in spite of human life. [ABSTRACT FROM AUTHOR]

Since its proliferation in the 1970s, Women's Studies programmes have been investigated for their potential impact on students, particularly their capacity to rouse feminist awareness and identity. From such investigations, an array of scholarship attests to the remarkable impact of Women Studies programmes in raising feminist-critical consciousness and igniting activism in students. However, the majority of such studies are American-centric and their findings generally depict Western/liberal-feminist impressions. This paper reports a 2015 empirical study that engaged graduates and the (then) current students of the University of Buea's Department of Women and Gender Studies in a similar investigation of the influence of feminist studies. The research aimed to verify if these students/graduates would recount experiencing a similar impact of their academic programme given the more conservative Cameroonian contexts and determine if this Women Studies programme, being African-based, enabled distinctly African-feminist impressions. The study found that the informational influence of the department's undergraduate programme (though recognisable) was compromised by the normative influence of the Cameroonian context in which it is taught and the department's inadequate commitment to African-feminist thought. Responses revealed that participants struggle to reconcile what they study and how they are socialised resulting in varying degrees of convenient feminist ideation. Surprisingly, in compromising between their informational and normative influences, participants unintentionally portrayed African-feminist leanings as put forward by African-feminist ideologies like Complementarianism, Stiwanism, Nego-feminism, etc. This paper discusses the implications of the study's findings with regards to both the broadness of African-feminist thought and the teaching of women's studies in this context. [ABSTRACT FROM AUTHOR]

Broadly, this article details the imbrication of a Black feminist qualitative researcher's onto-epistemology and data (meta-) analysis process. I theorize Black feminist memory work, then apply this method by returning to data I collected for a completed research project and meshing those data with a curated selection of thematically connected family photographs. By revisiting and reviewing textual and visual data, I demonstrate the function of Black feminist memory work as a visual research method with which to not only describe, analyze, and interpret evocative photographs, but also excavate and make meaning of the sometimes repressed and oftentimes emotion-laden episodic and autobiographical memories that inevitably surface when conducting qualitative research. I conclude by underscoring how this tool creates opportunities for qualitative researchers to address the ontological concerns that connect qualitative inquiry to Black feminists' humanistic hopes. [ABSTRACT FROM AUTHOR]

Copyright of Revista Latinoamericana de Metodología de la Investigación Social is the property of Centro de Investigaciones y Estudios Sociologicos 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.)

While recent scholarship has discussed the gendered subject/object relations within The Blair Witch Project and Heather’s victimization by the male gaze of the horror-genre’s camera, my work rebuts and clarifies the level through which this victimization is occurring. I argue we must understand how BWP functions on three different metatextual layers—Heather’s documentary, the implied documentary of The Blair Witch Project, and the Myrick and Sánchez mockumentary—to see the ways in which Myrick and Sánchez have exploited spectator expectations of the horror genre to underwrite a critique of the genre’s reliance on the villainization and objectification of women, both through the cinematic absence of the Blair Witch herself and the use of Heather as ‘vanished’ female filmmaker.

This article is an account of my theological journey of spiritual and scientific transformation. It deals with the digestion of god in my life and the production of a new theological mode. My first description deals with the need of writing theology as if there was no censorship. What does it mean to go from war to democracy in theology? Then I register the need to go beyond the theology of liberation, pointing out some blocking rocks in the way. The need to transcend liberation theology pushes us toward the transgression of some limits. I recall the importance of sacred plants such as the Amazonian drink called Ayahuasca and its role in the process of the recovery of my health. Then, using postcolonial, queer, feminist, and critical religious studies, I examine the possibilities for trans-canonical hermeneutics on the horizon of world peace building. [ABSTRACT FROM AUTHOR]

While recent scholarship has discussed the gendered subject/object relations within The Blair Witch Project and Heather's victimization by the male gaze of the horror-genre's camera, my work rebuts and clarifies the level through which this victimization is occurring. I argue we must understand how BWP functions on three different metatextual layers--Heather's documentary, the implied documentary of The Blair Witch Project, and the Myrick and Sánchez mockumentary--to see the ways in which Myrick and Sánchez have exploited spectator expectations of the horror genre to underwrite a critique of the genre's reliance on the villainization and objectification of women, both through the cinematic absence of the Blair Witch herself and the use of Heather as 'vanished' female filmmaker. [ABSTRACT FROM AUTHOR]

When we think of the Beat Generation most of the names that come to mind are from male writers in the movement. However, women Beat writers were as productive as their male counterparts but are not so often heard of, published, or accounted for their contributions to the literary scene of the times. This essay aims at analyzing the contribution of women to the Beat Generation and evaluate possible reasons for their absence in the literary canon. [ABSTRACT FROM AUTHOR]

Considering both Diane di Prima's "The Loba Recovers the Memory of a Mare" and Allen Ginsberg's "Howl", the present essay addresses the ways in which the poets share similarities within their "beat methods of writing" and poetic tradition whilst also accentuating the disparities between the two, showcasing the need for more focus on female centred narratives. The paper begins by emphasizing Diane di Prima's life and work as well as her relationship with Allen Ginsberg, arguing for their status as poetic counterparts within the Beat Generation. Ginsberg's intention of singing the best minds of his generation seems incomplete as "Howl" not only fails to consider female poets but also fails to consider women as more than sexual objects. Through a feminist studies scope, the essay highlights Di Prima's invaluable contribution as a Beat poet, discussing the ways in which the author problematizes the role of women in society, how they're oppressed and the ways in which they fight against it. Additionally, through Di Prima's titular character of her quasi-epic poetry collection "Loba", the paper aims to explore the concept of "feminine rage" in connection to the second wave of the feminist movement in the United States of America during the 60's and 70's and the rise of radical feminism which aimed to weaponize women's anger against the patriarchy and status quo. Echoing Ginsberg, Diane di Prima takes on "Howl" and feminizes it, revisiting and recovering women's place in society. [ABSTRACT FROM AUTHOR]

Victims of pesticides are often disregarded when demanding reparations and political action because of the 'undone science.' Studies have examined how people organise to rectify the 'undone science', but less is known about how the 'undone science' permeates local organisations to direct their strategies in acknowledging some, but not others, as victims of pesticide contamination. Using the case of plantation workers' struggle to demand redress for ailments caused by the pesticide Dibromochloropropane (DBCP) in Nicaragua, I analyse how what counts as 'evidence' shapes the struggle and how, in the process, women's lived experience of harm is not prioritised. [ABSTRACT FROM AUTHOR]

Copyright of Context / Kontekst is the property of Institute of Macedonian Literature 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.)

Increasingly diverse Western European societies have developed their own conversations around intersectionality that focus on local issues. Two artists and public intellectuals that demonstrate this increasing level of engagement with intersectionality in Western Europe are writer and actress Michaela Coel and writer Édouard Louis, from England and France, respectively. In the 2020 TV series I May Destroy You, Coel presents the story of a working-class English black writer named Arabella who has been sexually assaulted. She also gives the spotlight to Arabella's best friend, Kwame, a black gay man who has also been assaulted but whose experience differs greatly from Arabella due to his gender and sexual orientation. I May Destroy You introduces its viewers to intersectionality by insisting on how Arabella and Kwame's specific identities lead to different outcomes. Likewise, French writer Édouard Louis's 2018 novel Histoire de la violence revolves around the author's rape by a man of North African descent in order to examine the treatment of queer people and ethnic minorities by the police and French society at large. Both creators have succeeded in making their audiences aware of how intersectionality is a necessary tool to comprehend systemic inequality in their respective countries. [ABSTRACT FROM AUTHOR]

Istanbul Educational and Cultural Association of Oriental Dancers (Istorder) is a unique institution that brings together professional belly dancers in Istanbul/Turkey. Between 2019–2021, I participated in belly dance courses in their dance studio. In this study, I examine my own experience, utilizing the data obtained from participant observation, fieldnotes, and semi-structured interviews with a feminist autoethnographic approach. I consider both my own experience and the narratives of other women who learn and teach belly dance in Istorder. Furthermore, I compare my findings with other research on women's experiences of belly dance in the United States of America in different historical contexts. [ABSTRACT FROM AUTHOR]

In recent years, musician Sister Rosetta Tharpe (1915–73) has gone from being a "forgotten" rock trailblazer to being a viral video sensation and the subject of the Internet meme "A queer black woman invented rock and roll." This article traces the "meme-ing" of Tharpe, paying attention to how the meme constructs, circulates, and mobilizes knowledge about her in online and offline spaces. After briefly reviewing the challenges of writing about Tharpe's sexuality in "Shout, Sister, Shout!," my 2007 biography, I turn to the history of the meme, showing how it supports a radical politics of remembering by articulating Tharpe's erasure from the annals of rock to the ongoing struggles of marginalized black and queer subjects. In particular, the boundary-pushing musicians Janelle Monáe and Lizzo and the visionary Haitian-American fashion designer Kerby Jean-Raymond illustrate how the meme has fueled engagements with the erasure, appropriation, and commodification of black queer creativity in the 21st century. These examples show how contests over rock-and-roll history and memory "vibrate," or continue to resonate, across media in the post-rock moment. [ABSTRACT FROM AUTHOR]

The relentless contribution of women's studies and feminist theory has shaped current academic and cultural perceptions of such a controversial subject as rape, which up to this day has received a fair share of attention but which will never cease to stimulate research, nor satisfy our enquiries. This paper aims to provide an analysis of literary and legal responses to this issue in two near contemporary tragedies: Titus Andronicus by William Shakespeare and Appius and Virginia by John Webster and Thomas Heywood, a work awaiting critical consideration. The plays present diegetic and mimetic similarities and are bound by a strong intertextuality which refers to their common sources. The paper also investigates those issues relating to the visual representation and the verbal transmission of rape, problems which feature in earlier and contemporary legal statutes. [ABSTRACT FROM AUTHOR]

This paper discusses the implications of Sarah Josepha Hale's polarizing opposition to the franchise of women on her legacy award, given to many authors since its inception, but most notably to contemporary women writers whom Hale likely would have rejected. In 2019, the award went to Jodi Picoult, an author who bridges journalistic writing on topics such as abortion, white supremacy, and gun violence, among others, with fiction novel writing. Hale's own works are archived through the Richards Free Library, and as such, the award is given for the entire collective body of work of one nominated literary person. The award impacts not only Picoult's career but Hale's legacy as an open opposer to the franchise of women, as well as the opportunities for contemporary women writers. [ABSTRACT FROM AUTHOR]

In the history of French sport, the practice of physical activities by women is essentially considered non-existent before the 1920s, with the exception of a few aristocratic women. Although this idea persists, it has been challenged by recent research on early sportswomen. These studies raise the question of the scope of sports history, and indeed the very definition of sports itself. These are usually defined in the social sciences as physical activities that are organized, codified and institutionalized, structured by clubs and federations. While at the beginning of the 20th century these clubs and federations were most often closed to women, this does not mean that women were not practicing sports. Physical activities were gaining increasing popularity among women even before this time, and not only among the upper class. There is evidence of women swimming, cycling, racewalking, and even wrestling or boxing in the United States, Canada and Britain, as well as in France. These practices necessarily developed outside institutions, with women taking them up as individual pastimes. As demand grew, some sought to profit from this, and sports promoters organized the first competitions. Journalists then reported on these events in the press, sometimes with amusement, sometimes with disapproval.Yet the first women walkers, runners, cyclists and other athletes are only now beginning to appear in historical studies. This paper seeks to contribute to the rehabilitation of these sportswomen, who include working-class boxers and wrestlers, all of whom have long been subject to a double exclusion—institutional and historical. It presents the history of the first competitions of sportswomen—professional or amateur—in France at the turn of the century, a first foundation stone in writing a new and more inclusive history of sport.

Aida Overton Walker, a premier vaudeville entertainer, engaged in a calculated, career-long process to restructure and re-present how African Americans, particularly black women in popular theater, were viewed and perceived in American society. Through a feminist lens this essay will demonstrate her awareness of her visual presence to perform black resistance by embodying the ideological practice of racial uplift—the response delivered by the African American, educated, middle-class elite to the anti-black racist environment prevalent in the early 1900s.The goal of this essay is to elucidate Overton Walker’s understanding of her image and her onstage performance career—choreography, dance, comedy, and drama—as powerful, subversive tools that countered the virulent racist portrayal of blacks rendered on the vaudeville stage through minstrelsy, and the damaging imagery persisting from slavery, white supremacy, and the prevailing Jim Crow regime. She enacted her brand of feminism to utilize her onstage and offstage likenesses to perform and proselytize for racial uplift, work traditionally designated almost exclusively for the black male elite.Overton Walker’s transnational forms of black resistance reside in her direct engagement in Britain and her indirect and imagined connections with the African continent. She is an understudied figure in the era of the New Negro. This essay will illuminate and consider her contributions to racial uplift in context to the US and abroad. Overton Walker’s transnational links between the African continent, Great Britain, and America were transformative performances in popular culture, and in context of an emerging American modernity.

Introduction: Due to conflicts of national identity and religion, human rights legislation has been integral to Northern Ireland's post-war journey. As a result of this, the post-conflict generation of girls, female adolescents, and non-heterosexual, queer-identifying peoples have more rights, opportunities, and recognition in educational policy than generations prior. However, government reports show issues within the country's Relationships and Sexuality Education (RSE) curricula, including that only one in five Northern Irish schools have touched upon lesbian, gay, bisexual, and transgender (LGBT) topics. Methods: This paper presents the first feminist post-structuralist analysis focusing on gender and sexual inequalities within the current national policy framework (as of September 2021) informing school-based RSE. Applying feminist critical discourse and content analysis to examine official government circulars, legislative text, and RSE policy guidance distributed to schools, feminist lenses are drawn on to examine four main sets of issues: bodies, sexual agency and pleasure, the inclusion of gender and sexual diversity, and heteronormativity. Results: Findings show that despite human rights legislation and having statutory RSE with legislated content, central discourses within the national RSE policy framework impose a story of female victimization, problematize binary constructions of gender, participate in the erasure of non-binary identifying persons, and prioritize compulsory heteronormativity. Conclusions: Until inclusive, non-binary language and standardized content is prescribed within the minimum content found in legislation and deemed statutory by the Department of Education, young people will not receive uniform RSE, undermining the importance of gender and sexual inclusivity and diversity. Policy Implications: Discourses illuminated within this paper may be drawn on by international policy actors and researchers to elucidate taken-for-granted or problematic language found within their own policies so that the rights of marginalized bodies and sexual identities are instilled and those who have been victimized may find empowerment. [ABSTRACT FROM AUTHOR]

This study presents findings from a qualitative study conducted in two relatively remote, primarily rural regions of the Canadian province of Quebec whose resource-based economic structures exacerbate inequalities between men and women. The purpose of this study was to understand how violence and homelessness intertwine in women's life courses in such regions. On the basis of past research showing that gender socialization around traditional roles and conservative values is particularly tenacious in non-urban areas, we conducted life-course interviews with 22 women in 13 different towns and villages of these two regions. Our content analysis of these interviews showed that specific social responses have forced women to maintain relationships with their aggressors or with people who have protected them, thus relegating these women's lives to the private sphere while reducing their opportunities for social participation in the public sphere. These social responses, together with women's economic and social disadvantages in these regions, were also the main factors that explain homelessness experienced by the participants in this study. Our analysis of these responses illustrates the patriarchal social structure of power in these regions, which is perpetuated in the interpersonal, institutional, and representational dimensions and keeps women in precarious, subordinate social positions, while ostracizing or punishing women who try to resist. [ABSTRACT FROM AUTHOR]

In this article, the author conducts a retrospective interrogation of the ethical issues embedded in the development (over a 5-year period) of a one-woman play, Goldilocks ' s Testimony, about the accumulation over time of the organizational processes and practices that marginalize women in workplaces. She describes the play's developmental trajectory, from conception through to the final performance to date as a serendipitous one. In the article, she explores many of the ethical issues that emerged over the course of this trajectory, some of which became apparent only in hindsight. In her exploration, she attends explicitly to the many opposing forces she negotiated over the lifetime of the project. [ABSTRACT FROM AUTHOR]

In this article, I examine the role of the household and its web of social relations in the formation of halakhah. Through close readings of talmudic texts, I propose that the household functions not only as a domain of halakhic practice but as a significant point of origin. Drawing upon the Latin root matrix (mother), I suggest that everyday activities involving food preparation, childrearing, and household management form a significant matrix in the genealogy of halakhah, from ancient through modern times. Ultimately, I conclude that the practicalities of household life and its halakhic renderings are mutually-informing and, at times, inseparable religious formations. [ABSTRACT FROM AUTHOR]

This article is derived from a webinar series conversation titled, "Post Philosophies and the Doing of Inquiry," co-hosted by Candace R. Kuby and Viv Bozalek. The webinar sessions ran from August 2020 to September 2021. This webinar series was made possible by a research collaborative partnership between the University of Missouri System in the United States and the University of the Western Cape (or UWC) in Cape Town, South Africa. The session with Kathrin Thiele took place in April 2021 and the following article is the transcribed conversation with Kathrin Thiele, also including contributions by Deirdre Donoghue and Pınar Türer. [ABSTRACT FROM AUTHOR]

Dalit literature articulates the oppression and exploitation faced by Dalits in a caste-ridden society as it records their social and cultural lives before and after India's independence. This cultural revolt that burgeoned in the 1970s has largely been Dalit male-centric in its orientation, adopting paternalistic and patronising tones towards Dalit women. As a consequence, Dalit women remained firmly encapsulated in the patriarchal roles of the silent, agenciless and 'victimised sexual being,' perpetuating thus gendered stereotypes. These accounts failed to properly address Dalit women's predicament and the interlocking oppression of caste and gender, which compelled them to create a distinct space for themselves. Dalit women have traversed a long path over the last four decades. During this time, their consciousness has evolved in many ways as reflected in Dalit writing. Life narratives, such as Bama's Karukku and Yashica Dutt's Coming Out as Dalit: A Memoir, function as the locus of enunciation where agency and self-identity are attended and asserted by Dalit women, through different approaches. As the social location determines the perception of reality, this paper attempts a look at how these two texts tackle and bring to the centre the gendered nature of caste and the power relations that still affect Dalit women, from a heterogeneous standpoint. It further analyses how through form, language and subject matter, Dalit women attempt to defy generic conventions, depart from imposed identities, and build up resistance against this enduring double oppression and the forces that insist on homogenising Dalit body politics. [ABSTRACT FROM AUTHOR]

Copyright of e-Scripta Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

When Daniel Miller asked 'Why some things matter?', it became critical to question why they matter differently for various genders. This paper is an attempt to analyze how 'orientations' around objects play out differently for the female gender in Sarah Pink's (2004) Home Truths: Gender, Domestic and Everyday Life. The domestic space of research informants in England and Spain is taken up to explore not only how orientations are different for the female genders, but how they also go on to reinforce gender roles. Thus works of foundational thing theorists like Bill Brown, Bruno Latour and Daniel Miller's ideas of subject-object relations are critiqued and revealed to be inadequate until gender is factored in. Additionally, the paper also reveals how bodies then purposely attempt to break out of gender roles by molding their subject-object relations. Ultimately, things end up shaping our mind more than we can fathom. [ABSTRACT FROM AUTHOR]

The article is, fundamentally, cross-sectional. As its subject, the author chose the most recent installments of the Assassin's Creed franchise - two digital games, Odyssey (2018) and Valhalla (2020) by Ubisoft. This analysis focuses mainly on the representation of minorities, especially the queer one. It also studies female characters and Ubisoft's marketing strategies. The main goal of the article is to point out certain possibilities which arise due to the ongoing process of increased inclusivity, as well as potential dangers stemming from underrepresentation. Digital games have unique potential and can provide opportunities to explore one's own identity. On the other hand, inappropriate creative strategies may result in a danger of perpetuating and strengthening harmful stereotypes. Therefore, it is equally important for developers and consumers alike to eliminate potentially detrimental elements in video games and attempt to build an inclusive and prejudice-free medium. [ABSTRACT FROM AUTHOR]

A wide array of menstrual tracking apps, including a small number of sport-specific menstrual tracking apps, are increasingly being used by athletes and coaches to better understand the complex relationships between hormonal cycles and sporting performance. To date, however, there have been few qualitative inquiries into the affects, affordances, and knowledge produced by entanglements of these apps and their users. In this article, we present a collaborative feminist experiment in ethnography, in which the authors, from a range of academic, sporting, and cultural positionalities, document, discuss, and creatively write our experiences of the sporting-menstrual tracking app FitrWoman, using both theoretically informed and poetic ways of knowing. We find that hormones emerged as the primary conduit of connection, transmission, sensing, and knowing in app-user intra-actions, which we variously experienced as alignments, misalignments, and discordances, as our understandings and experiences of menstruating, hormonal bodies collided, merged, and conflicted. [ABSTRACT FROM AUTHOR]

The 1951 Refugee Convention represents the legal cornerstone of today's global refugee protection, which is supposed to apply to all refugees regardless of their origin, gender identity, or sexual orientation. But did the Convention's drafters have such a complex approach in mind? This paper analyzes the Convention's drafting at the United Nations and the final conference in the late 1940s and early 1950s from feminist, queer, and postcolonial perspectives. By drawing on subalternity and absence, and using interpretive analysis of historical sources, the paper focuses on politics—who was (not) involved in debates—and policy—who was (not) considered under the refugee definition. The analysis reveals pervasive asymmetries, with western androcentrism inherently shaping the drafting. The western, white, heterosexual man was the standard filter for the powerful decision-maker and the protection subject, whereas women, LGBTQ+ and colonized people were neglected in politics and policy. Their exclusion was not merely a side effect of the political landscape at the time but reflects the reproduction of western androcentric power, which ultimately invisibilized the subaltern Others in the creation of international refugee law. [ABSTRACT FROM AUTHOR]