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In this paper the author looks at the letters of two renowned women mathematicians and scientists of the Victorian period, Mary Somerville and Ada Lovelace, while also considering the imperceptibility of Sophie Germain, an important French mathematician and philosopher in their epistolary exchanges and philosophical writings. Drawing on the importance of mathematical correspondences and epistolary education in the creation, circulation and dissemination of knowledge, as well as in processes of formal and informal learning, the author argues that Lovelace's and Somerville's letters leave traces of a remarkable genealogical line of women's mentorship and personal relations in the nineteenth century world of British mathematics in the backdrop of contradictory discourses around gender, mathematics, and science education.

In this paper I draw on my experiences of listening to migrant and refugee women's stories of displacement and explore questions around discourses and practices of listening across borders and languages. In doing so, I particularly focus on the materiality of listening, the force of corporeal voices, the rhythms of oral narratives and their effects on understanding and making connections within the web of human relations. Following tracks and traces of a rich body of literature around sounds, voices and texts in narrative analytics and feminist theory, I have turned my attention to aurality and I have suggested "narrative rhythmanalysis" as a mode of understanding and as a method. What I argue is that turning our attention to listening practices as a neglected process in theoretical analysis illuminates the perspective of the storyteller, mobilizes affective forces in the milieu of relational narratives and enacts the materiality of knowledge through the intensity and uniqueness of the corporeal voice. What I finally suggest is that perhaps we should move beyond the imperatives of clarity and transparency in an attempt to be in the world with others. Here the sound of narratives could become a trope that can take us down the path of decolonizing our ways of knowing and understanding.

In this article the author considers the letters of Émilie Du Châtelet, an eighteenth-century woman mathematician, philosopher and scientist. The central argument of the paper is that Du Châtelet's letters leave traces of the process of becoming a femme philosophe, while also throwing light in her involvement in the scientific, philosophical and cultural formations of the early modern period. In this context Du Châtelet's personal letters carry inscriptions of love as a creative force of life and are tightly intertwined with her 'laboratory letters', her correspondence with important mathematicians and scientists of her times. In thus making connections between 'the personal' and the 'scientific' in Du Châtelet's correspondence, the paper sketches a feminist critical perspective on a plane of thinking around love as an existential force in its interrelation with mathematics, science and philosophy. [ABSTRACT FROM AUTHOR]

The bifurcation of nature, taken as a gap between the scientific conception and the subjective experience of the world, is according to Alfred North Whitehead, one of the major epistemic fallacies of modernity. This paper draws on insights from Whitehead's process philosophy to map some analytical trails that the author followed in her work on the archives of women workers' education. There are three themes that have emerged from this archival research decisively challenging the bifurcation of nature: the power of associations, the coexistence of permanence and flux, and "amor mundi," love for the world. In this light, women workers' education emerges as an assemblage of feelings, cognitive understandings, imaginative enactments and creative forces, wherein nature and culture are inextricably entangled.

In this article, I trace lines of materialist pedagogies in the history of women workers' education following feminist interpretations of Spinoza's assemblage of joyful affects. More particularly, I focus on the notions of "laetitia" [joy], "gaudium" [gladness] and "hilaritas" [cheerfulness] as entanglements of joy and trace their expression in practices and discourses inscribed in archival documents that I have reassembled around the theme of women workers' education. My reading of "Ethics" follows a range of feminist thinkers that have engaged with Spinoza's 'ethics of joy' in education and beyond. The article draws on extensive archival work with personal auto/biographical documents and public essays of women workers/educators/writers in Paris and New York that span the period between 1830 and 1950. What I argue is that it is the experience of creative and radical education that has created a platform for workers to re-imagine themselves in the world with others.

Feminist historians have long argued that women have been absent from history, and recovering their position in the historical discourse has been one of the main projects of academic feminism for the last 40 years. But while women's marginal position as historical subjects has been recognized and addressed their actual contribution to the historiographical operation is still a grey area that needs further research and exploration. Narratives are at the heart of how women have attempted to write history and it is this marginalized area that I address in this paper by focusing on Maud Gonne's controversial autobiography, "Servant of the Queen", as well as on moments of her correspondence with her life-long friend William Butler Yeats. Gonne's auto/biographical narratives are read as discursive effects of fierce power relations at play, but are also theorized as recorded processes wherein Gonne as the author of her political story emerges from the margins of knowledge production and actively inserts herself in the discourses of Irish history.

Understanding and action are central themes in Hannah Arendt's thought and an idea that runs throughout her work is that whenever human beings act, they start processes. It is in this light that she saw education as a process whose aim is to make human beings feel at home in the world. Given the centrality of process in understanding action, early on in her work, Arendt reflected and drew upon the ideas of Alfred Whitehead, the philosopher of process. Education in his thought is an art and an adventure whose object should be to enable students to grasp the process of life itself and imagine different worlds. In this light, universities are crucial in creating conditions of possibility for imaginative learning and intellectual adventures. Taking action, process, imagination and adventure as my central ideas, in this paper, I make connections between Arendt and Whitehead in an attempt to think about education within and beyond "dark times".

In this paper, I look into the papers of Fannia Cohn, an immigrant labour organizer, who served the Education Department of the International Ladies' Garment Workers' Union (ILGWU) between 1918 and 1962 and became one of its few women vice-presidents. As an internationally recognized figure in the history of workers' education, Cohn left a rich body of labour literature, wherein art is central in the ways she conceptualized, designed and organized women workers' educational programmes and curricula, as well as cultural activities for more than 50 years. For Cohn, however, art and politics were tightly interwoven in what I have called the "artpolitics assemblage" of women garment workers' life and work. It is entanglements between ethics, aesthetics and politics, considered in the light of the Rancièrian notion of "the distribution of the sensible," that I discuss in this paper.

In this article I am thinking with Antigone, a political figuration that has been invested with many readings, interpretations and artistic expressions in feminist theory and beyond. The article draws on a research project of listening to migrant and refugee women's narratives of displacement and travelling. What connects these stories via the figure of Antigone is women's desire to tell their stories as an expression of their will to rewrite their exclusion from oppressive regimes, defend their choice of civil disobedience, grasp their passage, claim their right to have rights and affirm their determination for new beginnings. I argue that uprooted women's narratives follow the Arendtian tripartite schema of political action by intervening in the ethics and politics of forced choices, becoming spectators of impossible actions and inscribing mnemonic traces in emerging decolonial histories and feminist genealogies. [ABSTRACT FROM AUTHOR]