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Copyright of Synergy (1841-7191) is the property of Editura ASE 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.)

Abstrak Di era modern, gereja menghadapi berbagai tantangan, salah satunya adalah pandangan terhadap wanita dan peran mereka. Ideologi feminis sangat memengaruhi peran wanita di zaman modern. Meskipun berakar dalam liberalisme, feminisme mencakup banyak aspek, seperti penahbisan wanita, kesetaraan dalam pernikahan, hak aborsi, bahasa netral untuk jenis kelamin dalam Alkitab, dan pencarian untuk ketuhanan yang feminin. Feminis Kristen sering kali merujuk pada ajaran agama dan ideologi di luar bukti-bukti Alkitab dan teks-teks Kristen lainnya. Wanita, khususnya istri, melambangkan citra pengantin, yaitu gereja di hadapan Kristus. Penelitian ini, menggunakan metode kualitatif dari Systematic Literature Review dan penelitian eksploratif, menelusuri naratif Alkitabiah tentang wanita seperti jatuhnya Hawa dan mengeksplorasi bagaimana feminisme telah memengaruhi pandangan gereja terhadap peran wanita sebagai istri yang dapat menghasilkan perpecahan pernikahan yang menghambat kesatuan di antara suami istri. Penelitian menemukan bahwa sementara feminisme cenderung mendorong istri untuk memiliki otonomi mereka sendiri, mereka melewatkan pesan yang terdapat pada Kejadian 3:15 yang dapat memecah kesatuan suami istri. Pemahaman terhadap peran wanita akan memberikan wawasan dan berkontribusi pada identitas dan posisi yang benar dari jemaat sebagai pengantin di hadapan Allah. Abstract In the modern era, the church faces various challenges, one of which is the view of women and their roles. Feminist ideology has greatly influenced the role of women in modern times. Although rooted in liberalism, feminism covers many aspects, such as women’s ordination, equality in marriage, abortion rights, gender-neutral language in the Bible, and the search for a feminine deity. Christian feminists often refer to religious teachings and ideologies beyond the evidence of the Bible and other Christian texts. Women, especially wives, symbolize the image of the bride, the church before Christ. This research, using the qualitative method of Systematic Literature Review and exploratory research, traces the Biblical narrative of women such as the fall of Eve and explores how feminism has influenced the church’s view of women’s role as wives which can result in marital divisions that hinder unity between husband and wife. The research found that while feminism tends to encourage wives to have their own autonomy, they miss the message found in Genesis 3:15 which can fracture the unity of husband and wife. Understanding the role of women will provide insight and contribute to the correct identity and position of the church as a bride before God.

FR. Comment l’intense médiatisation des violences sexistes et sexuelles ayant fait suite au mouvement numérique et transnational #MeToo a participé de la redéfinition du modèle traditionnel de l’excellence journalistique ? En quoi l’attention nouvellement accordée à ces enjeux a-t-elle favorisé l’importation de schèmes d’analyse féministe au sein des rédactions de presse écrite ? Nous suggérons que l’influence de #MeToo sur les mutations de la couverture du sujet s’explique en partie par la conversion symbolique de l’engagement militant de femmes journalistes en compétence professionnelle distinctive. La légitimation conjoncturelle de visions féministes du monde social aurait en outre contribué à la remise en cause d’un certain nombre de pratiques de sélection et d’écriture journalistiques. Un premier temps de cet article sera consacré à l’analyse des motivations et des conséquences du processus de stigmatisation des savoirs et savoir-faire féministes observé au sein des rédactions de presse écrite. Nous chercherons par la suite à comprendre les causes et effets du retournement partiel du stigmate féministe en contexte #MeToo. Seront ici discutés la centralité du rôle joué par quelques femmes journalistes ouvertement militantes, récemment nommées à des postes de responsabilité au sein de leur média respectif, ainsi que les efforts déployés par certains titres investis dans la dénonciation du sexisme pour mettre en scène la fiabilité de leurs publications. Nous interrogerons enfin les ressorts et conséquences de l’intérêt nouvellement porté par des hommes journalistes à des questions jusque-là assignées au genre féminin, sur la (re)définition de la division sexuée du travail journalistique. Cet article s’appuie sur l’analyse de près de 6 000 Unes et articles publiés entre 1980 et 2020 par quatorze journaux distincts. Cinquante entretiens semi-directifs ont par ailleurs été conduits auprès de journalistes et de leurs sources, afin de confronter l’analyse de contenus médiatiques aux représentations du sujet défendues par les principaux intéressés. *** EN. How has the intense media coverage of sexist and sexual violence following the digital and transnational #MeToo movement contributed to the redefinition of the traditional model of journalistic excellence? In what ways has the new attention paid to these issues encouraged the import of feminist frames of analysis into print newsrooms? We suggest that the influence of #MeToo on changes in the coverage of the topic can be explained in part by the symbolic conversion of women journalists' activist commitment into a distinctive professional expertise. The conjunctural legitimization of feminist visions of the social world may also have contributed to the questioning of a number of practices in journalistic selection and writing. The first part of this article analyzes the motivations and consequences of the process of stigmatizing feminist knowledge and practices in print media. We then seek to understand the causes and effects of the partial reversal of feminist stigma in the #MeToo context. Here, we discuss the centrality of the role played by some outspoken activist women journalists, recently appointed to positions of responsibility within their respective media, as well as the efforts made by certain titles committed to denouncing sexism to showcase the reliability of their publications. Finally, we examine the motivations and consequences of the new interest shown by male journalists in issues that had previously been assigned to the female gender, on the (re)definition of the gendered division of journalistic labor. This article is based on an analysis of nearly 6,000 covers and articles published between 1980 and 2020 by fourteen different newspapers. Fifty semi-directive interviews were also conducted with journalists and their sources, in order to compare the analysis of media content with the representations of the topic championed by the principal parties concerned. *** PT. Como a intensa midiatização da violência sexista e sexual, na esteira do movimento digital e transnacional #MeToo, tem contribuído para redefinir o modelo tradicional de excelência jornalística? De que forma a nova atenção dada a essas questões incentivou a importação de padrões de análise feministas nas redações da mídia impressa? Neste artigo, sugere-se que uma das razões para o impacto do movimento #MeToo sobre as mudanças na cobertura do tema seja a conversão simbólica do compromisso ativista das mulheres jornalistas em uma habilidade profissional diferenciada. A legitimação conjuntural de visões feministas do mundo social também pode ter contribuído para que fossem questionadas diversas práticas de seleção e redação jornalísticas. Em um primeiro momento, o artigo foca na análise das motivações e consequências do processo de estigmatização dos saberes e do know-how feministas observados nas redações da mídia impressa. Em seguida, busca-se compreender as causas e os efeitos da reversão parcial do estigma feminista no contexto do #MeToo. Neste artigo, discute-se a centralidade do papel desempenhado por algumas mulheres jornalistas abertamente militantes, que foram recentemente nomeadas para cargos de liderança em suas respectivas mídias, e os esforços de manchetes comprometidas em denunciar o sexismo no intuito de mostrar a confiabilidade das matérias publicadas. Por fim, analisa-se a origem do novo interesse demonstrado por jornalistas homens em questões até então atribuídas ao gênero feminino, e suas consequências na (re)definição da divisão de gênero no trabalho jornalístico. Este artigo baseia-se em uma análise de cerca de 6.000 manchetes e artigos publicados entre 1980 e 2020 em quatorze jornais diferentes. Também foram realizadas 50 entrevistas semiestruturadas com jornalistas e suas fontes, de forma a confrontar a análise dos conteúdos midiáticos com as representações do tema defendidas pelas partes interessadas. *** ES. ¿Cómo ha contribuido la intensa cobertura mediática de las violencias sexistas y sexuales a raíz del movimiento digital y transnacional #MeToo a la redefinición del modelo tradicional de excelencia periodística? ¿Cómo esta atención, prestada por primera vez a estos temas, ha favorecido la importación de patrones de análisis feministas a la prensa escrita? Sugerimos que la influencia de #MeToo en los cambios en la cobertura del tema puede explicarse en parte por la conversión simbólica del compromiso militante de las mujeres periodistas en una habilidad profesional distintiva. La legitimación coyuntural de visiones feministas del mundo social también puede haber contribuido al cuestionamiento de una serie de prácticas periodísticas de selección y redacción. La primera parte de este artículo se dedicará a analizar las motivaciones y consecuencias del proceso de estigmatización de los saberes y conocimientos feministas observado en la prensa escrita. A continuación, trataremos de entender las causas y los efectos de la reversión parcial del estigma feminista en el contexto #MeToo. Se debatirá el papel central desempeñado por varias mujeres periodistas abiertamente militantes, recientemente designadas para ocupar puestos de liderazgo en sus respectivos medios de comunicación, así como los esfuerzos realizados a través de algunos titulares dedicados a la denuncia del sexismo con el objetivo de demostrar la fiabilidad de sus publicaciones. Por último, examinaremos las razones y las consecuencias del nuevo interés mostrado por los hombres periodistas hacia temas hasta ahora asignados al género femenino, en relación a la (re)definición de la división sexual del trabajo periodístico. Este artículo se basa en un análisis de aproximadamente 6000 portadas y artículos publicados entre 1980 y 2020 por catorce periódicos diferentes. También se realizaron cincuenta entrevistas semiestructuradas con periodistas y sus fuentes, con el fin de comparar el análisis de contenidos mediáticos con las representaciones del tema defendidas por las personas principalmente interesadas. ***

The 2016 Netflix series Stranger Things is a calculated homage to the 1980s; in addition to its period setting and the inclusion of star Winona Ryder, it further incorporates tropes and references from popular 1980s' films including Stand By Me, E.T., and The Goonies. But the series does not only draw from stories about young boys coming of age in America; it also calls back to Stephen King's Carrie and other science fiction and paranormal images marked by the fear of female sexuality. Stranger Things' slimy passages, alien umbilical cords, "demogorgon" vaginas dentata, and liminally gendered and sexualized characters all speak to long-standing fears about the monstrous feminine, and further invoke the monstrous queer. Stranger Things is a contemporary take not only on 1980s' cinema but on classical feminine body horror, and this analysis interrogates the series's positioning as a feminist text. [ABSTRACT FROM AUTHOR]

This article analyses how the Ugandan Anti-Pornography Act interacted with gender relations in Uganda from a critical-feminist point of view. Relying on interview data, media reports, and secondary sources and using a practice-theoretic approach to gender relations and changes therein, the article traces how the APA legitimised, encouraged, and enabled violent and misogynist practices. Yet, it also informed feminist and radical practices pushing for bodily self-determination. Thus, the Anti-Pornography Act reinforced patriarchal gender relations and, simultaneously, contributed to the re-politicisation of the feminist movement in Uganda. In a time of global backlashes against feminism and equality, this article details the far-reaching retrogressive and progressive ramifications anti-feminist legislation can have and thus contributes to current and necessary debates. [ABSTRACT FROM AUTHOR]

Analisis pada penelitian ini bertujuan untuk mengungkap dan mengetahui bagaimana citra perempuan itu dinarasikan oleh pengarang. Objek material penelitian ini adalah novel Larasati karya Pramoedya Ananta Toer. Objek formal penelitian adalah narasi citra perempuan yang dibangun dalam novel tersebut. Dengan demikian untuk menguraikan diskusi tersebut menggunakan metode deskriptif kualitatif, dengan teknik dekonstruksi Derrida. Melalui tahapan pembacaan, pencatatan, dan teknik interpretasi. Dari tahapan tersebut menghasilkan analisis berupa oposisi dan pembongkaran terhadap perempuan dalam novel Larasati, yakni oposisi pro republik versus pro penjajah dan perempuan versus laki-laki. Sekian itu, hasil juga menunjukkan adanya suara narator dari teks adalah gagasan pengarang dalam mengonstruksi citra perempuan terhadap wacana kolonial. Selain itu, narasi citra perempuan pada novel Larasati tersebut tidak lepas dari pemikiran realis-sosialis yang dimiliki Pramoedya sebagai pengarang, sehingga memunculkan tokoh perempuan dengan yang melakukan perlawanan.

The story of the Lewis family is generally told from the perspective of men: David, Stephen, and Avi; this article reorients the traditional narrative to examine the often overlooked and undervalued contributions of the women to the institutional and extra-parliamentary left in Canada. It demonstrates that, despite the barriers imposed by a patriarchal system, Sophie Lewis helped develop both the Cooperative Commonwealth Federation (CCF) and New Democratic Party (NDP); daughter Janet (Solberg) organized much of the Ontario wing and numerous successful election campaigns; daughter-in-law Michele (Landsberg) forced social democrats (and many others) to grapple with gender inequality; and granddaughters Ilana (Landsberg-Lewis), Jenny, and Naomi (Klein) continue to fight publicly for social justice around the world. It argues that these women, and many others, deserve recognition for their important work in Canadian politics and society. [ABSTRACT FROM AUTHOR]

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Organized in the spring of 1971 to denounce American intervention in Vietnam, the Indochinese conferences constitute one of the most important attempts at feminist coalitions of the time. The event embodies the project of building a global sorority. Although abundantly criticized in historiography, this ideal is rarely analyzed in all its ambiguity: this article therefore proposes to historicize sorority and highlight the complexity of its political uses. While recognizing the importance of the conflicts surrounding this project, we wish to understand why, despite everything, it emerged as a frame of reference shared by such a wide diversity of activists at the beginning of the 1970s.This rereading of the Indochinese conferences makes it possible to propose a more flexible definition of global sorority: the speeches on the question reflect the tensions of a movement driven by the urgency of articulating the different subjectivities of women in order to organize a massive and effective opposition to the Vietnam War. Sorority thus serves as a unifying frame of reference that is sufficiently malleable to allow various conceptions of feminism to coexist and collide. It thus makes it possible to mark out a terrain from which a pluralist and debated feminist solidarity can develop. [ABSTRACT FROM AUTHOR]

Simone de Beauvoir's influence, particularly through her Second Sex and Memoirs of a Dutiful Daughter, has been personally and intellectually decisive for Annie Ernaux who just like Beauvoir turned from a both dutiful and disturbed girl into a disturbing author as evidenced by her narrative A Girl's Story. This article precisely aims at studying how the 'disturbed' and 'disturbing' paradigms open the way to a reassessment of A Girl's Story in light of Beauvoir's Second Sex and Memoirs of a Dutiful Daughter, and bring so to the fore the organic bond connecting Ernaux to Beauvoir. [ABSTRACT FROM AUTHOR]

In this contribution, I aim to make sense of the (somewhat) uncommon and disturbing phenomenon of maternal filicide within a broader context of the so-called neglected discourse of the mother in the West. Contemporary examples of countries where maternal filicide have been recorded are Germany, South Africa, the United States and New Zealand and these instances are recounted in the introduction to illustrate the cross-cultural and transnational nature of the problem, as well as the fact that its universal appearance allows for a justifiable feminist methodology. In or der to justify a cross-cultural methodological angle, I analyse four recent examples or case studies of maternal filicide in an attempt to isolate the underlying factors contributing to this horrific social phenomenon. My conclusion is that although structural realities (material and/or emotional bereftness) were the major or ultimate reasons which led to the final decision to execute, it is (neoliberal) patriarchy, and the values ensconced within this framework, that ultimately set the stage for the countdown. Apart from my brief investigation of Kristeva's (2002b) notion of abjection, in order to grasp her thinking in the context of an especially Western feminist paradigm, I also consider other theoretical models in this regard. This is an important consideration since it is in my view difficult to understand the construct of motherhood without the benefit of a wider appreciation of a general scholarship on the topic. My intention is to critically assess the myths about the social construct of motherhood, namely that such construct is in no way "natural" in the sense in which patriarchy would have us believe. These additional theoretical suggestions include a feminist appreciation of the fractured mother-daughter relationship and Hrdy's (2000) insight that women's unbounded, prehistoric sexuality had been repurposed in order to refashion motherhood as "natural". In particular, I argue, by analogy of Blumberg's (2009) notion of freaks in evolutionary biology, that the social construct of motherhood and areas of exhaustion in such a biology, evince structural similarities; since patriarchal forms of oppression force women as mothers to operate outside the boundaries of conventional social norms. I tender these considerations with the aim of reaching a more nuanced understanding of the concept of motherhood's political and ideological underpinnings. As such, I employ a feminist methodology within a transnational theoretical framework in view of motherhood being a cross-cultural phenomenon. Even though a number of theoretical trajectories are considered and employed, I argue that this approach is in fact one of the strengths of this contribution since the proliferation of feminist theoretical perspectives has been seen as being conducive to the feminist project's open-endedness, rather than patriarchy's attempt to close off the debate, as my analogous exploration of the historical course of motherhood demonstrates. I argue that this phenomenon can only be understood properly within the wider context of motherhood as a cultural, political and ideological construct with nuanced and complicated underpinnings. In this way, an indirect approach is likely to show up insights which a direct method would miss or underappreciate. I reach the conclusion that maternal filicide, significantly even as transnational, cross-cultural phenomenon, finds credible explanation in Blumberg's (2009) concept of evolutionary exhaustion. I further argue that the neglect of discourse on the mother, as Kristeva (1982) presciently pointed out, is by design, since the alternative, its proliferation, could and almost certainly would lead to the demise of m/otherhood. [ABSTRACT FROM AUTHOR]

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Analyse du film Pauvres créatures du cinéaste Yorgos Lanthimos. Une femme enceinte, Bella, se jette en bas d’un pont pour se donner la mort. Un médecin fou récupère le cadavre pour remplacer le cerveau de la mère par celui du fœtus qu’elle porte. Nous voyons, dans un corps d’adulte, un enfant qui se développe à travers les âges jusqu’à la maturité. Bella découvre les comportements à adopter et à éviter en société, la sexualité et finalement la liberté de penser en explorant le monde et en lisant. Elle deviendra à son tour médecin pour s’adonner à des transformations sur le corps des êtres vivants, animaux et humains. Le film inspire plusieurs réflexions philosophiques et éthiques et illustre l’émancipation féminine.

L’écrivaine franco-marocaine Leïla Slimani a fait irruption sur la scène littéraire française avec son premier roman, Dans le jardin de l’ogre (2014), qui raconte l’histoire d’Adèle Robinson, une Parisienne de la classe moyenne supérieure qui a un goût prononcé pour les situations sexuelles à risque, penchant qui menace de faire voler en éclats sa vie trop stable. Son deuxième roman, Chanson douce (2016), a définitivement consacré Slimani en tant qu’écrivaine en France et à l’étranger. Couronné par le prestigieux Prix Goncourt et acclamé par la critique littéraire, ce deuxième roman est également devenu un bestseller mondial. Inspiré de faits réels, Chanson douce met en scène une nounou qui tue les deux enfants de la famille pour laquelle elle travaille. Le roman surprend le lecteur par son rythme aux allures de thriller et par la précision glaçante de son écriture. Alors que l’histoire de ses deux premiers romans se déroulait dans une France contemporaine, les romans les plus récents de Slimani qui font partie d’une trilogie annoncée, Le Pays des autres (2020) et Regardez-nous danser (2022), plongent le lecteur dans l’histoire récente du Maroc depuis les années 1960 et dresse un portrait détaillé d’un pays en mutation sous la forme d’une saga familiale d’inspiration autobiographique. Le présent entretien prend comme point de départ les écrits les plus récents de l’écrivaine et rassemble les points de vue Slimani sur la nature entremêlée de l’histoire et de l’histoire personnelle ou du récit, la fonction de l’écrivain et de l’écriture à l’ère contemporaine, ainsi que sur les outils nécessaires pour raconter une « histoire vraie ». Nous nous attelons également au passé colonial du Maroc et à la notion d’altérité, ainsi qu’aux approches décoloniales. Nous interrogeons ensuite le projet féministe à travers un prisme postcolonial et nous abordons la question des héritages féministes tout en nous tournant vers la Française du futur et ce à quoi elle pourrait ressembler dans un pays en pleine mutation politique. Cet entretien a eu lieu dans le cadre de la série « Giving Shape to the World: Contemporary Writing in French Today » à l’Institut Français à Londres pendant le Mois de la Francophonie en mars 2022.

Nobel Prize laureate Annie Ernaux is a celebrated writer, but she is also seen as a representative of the dominated within society, with all the ambiguities that the term 'representative' entails. While reception of her work remains contested in France, it has to be said that the personal and political agenda that has partly guided Ernaux's work - 'to avenge my kind and to avenge my gender' - is part of a political conception of literature that can take on a prescriptive or incitive value for writers who are class migrants and/or feminists. Through their critical comments, these writers influence Ernaux's way the work is read - by the author as well as by lay readers - granting social usefulness to the aesthetic 'transgression' usually attributed to her prose. [ABSTRACT FROM AUTHOR]

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This feminist-oriented text revolves around methodological discussions regarding women's participation in different wars, specifically their writing processes within the context of armed conflicts. These reflections shed light on how certain nations shape gendered mechanisms of exclusion and inclusion, which, when undergoing social crises, produce experiences, junctures, ruptures, and continuities at the borders that individuals and societies can (or cannot) cross. Subsequently, the text analyzes how certain studies on wars position women as subjects who strategically act and construct their identities, environments, and narratives through the written word, both at a personal, societal, political, and activist level. By problematizing the relationship between war, nation, gender, and writing, it is revealed how gender, both masculine and feminine, is moulded, (re)produced, and (re)defined, and how it naturalizes, justifies, and legitimizes the existence of wars and nations. [ABSTRACT FROM AUTHOR]

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This paper studies a discussion about posthumanism between the two influential feminist philosophers Rosi Braidotti and Donna Haraway in the journal, Theory, Culture & Society 23, no. 7-8 in 2006. In the journal Braidotti describes Haraway’s thinking as “high posthumanism”, while Haraway, interviewed in the journal, on the other hand is very critical of the term. She prefers thinking with other terms such as cyborgs, companion species or the Chthulucene. With the starting point in this historical discussion, the paper traces it into Braidotti’s recent book Posthuman Feminism (2021) and Haraway’s Staying with the Trouble: Making Kin in the Chthulucene (2016). A central concern in the discussion is the critical subject: How can the critical subject be understood and operate in a posthumanist framework? Can there be critical potentials in more-than-human positions and perspectives? How to think critical subjectivity as relational with other species and the material world? Based on these questions, the paper investigates posthuman feminism through more-than-human perspectives on the critical subject. [ABSTRACT FROM AUTHOR]

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Dans cet essai, Sonja K. Foss est interviewée par Helene A. Shugart sur la rhétorique invitationnelle, une forme de rhétorique ancrée dans les principes féministes qui remet en question la tradition rhétorique classique axée sur la persuasion. Elle décrit les événements clés qui l’ont amenée à s’intéresser à la fois à la rhétorique et au féminisme, et présente les contextes féministes et rhétoriques dans lesquels sa théorie s’est développée. Elle en explique les principes et les hypothèses-clés et parle de sa réception dans la discipline de la communication, tout en offrant quelques applications de la théorie dans le monde réel. Elle donne un autre exemple de projet dans lequel elle intègre féminisme et rhétorique - sa théorisation de deux paradigmes de changement - et conclut en suggérant comment elle applique dans sa propre vie certains des principaux concepts qui ont émergé de cette intégration du féminisme et de la rhétorique.

Technological determinism and its contestational dialectic with social-cultural realms have reified that technologies are not passive apolitical tools but radical interactive systems modifying human cognition (Dascal 2006).In contemporary times, the institutionalization of content creation on social media platforms like YouTube has provided an independent space for content but also facilitated digital social spaces where offline misogyny and sexism are regularly reproduced. Scholars have analyzed how societal internalization of such systemic gendered processes—including promoting normative identities, policing women, and crafting hegemonic masculinity and femininity—is operationalized through parasocial relationships in and on social media platforms (Chen 2014). However, there is relatively sparse scholarship on how the nature of gendered polarization in the digital age distinguishes offline and online cultures, especially in the Global South.Bookended by digital humanities on one hand, and politics of popular music on the other, this project unpacks how intersectional identities are mediated through dominant cultural productions on digital platforms. This project critically analyzes the video aesthetics, lyrics, and extracted comments built around the music video “Lahu Di Awaaj” by Simiran Kaur Dhadli. The 1.3 million views on the song, alongside the content of reactionary videos, brings forth the production and reproduction of the dominant culture, as well as the positionality of women in our society. Using digital ethnography as a research methodology, this project highlights how the new media spaces contribute to cybercultures through what I would like to call existing techno-habitus. It further shows how, in a patriarchal society like ours, misogyny is operationalized in new media platforms with respect to the Punjabi diaspora.Le déterminisme technologique et sa dialectique contestataire avec les domaines socioculturels ont réaffirmé que les technologies ne sont pas des outils apolitiques passifs, mais des systèmes interactifs radicaux modifiant la cognition humaine (Dascal 2006).À l'époque contemporaine, l'institutionnalisation de la création de contenu sur les plateformes de médias sociaux comme YouTube a fourni un espace indépendant pour le contenu, mais a également facilité les espaces sociaux numériques où la misogynie et le sexisme hors ligne sont régulièrement reproduits. Des chercheurs ont analysé la manière dont l'internalisation sociétale de ces processus sexistes systémiques - y compris la promotion d'identités normatives, le maintien de l'ordre chez les femmes et la création d'une masculinité et d'une féminité hégémoniques - est mise en œuvre par le biais de relations parasociales dans et sur les plates-formes de médias sociaux (Chen 2014). Cependant, il y a relativement peu d'études sur la façon dont la nature de la polarisation sexuée à l'ère numérique distingue les cultures hors ligne et en ligne, en particulier dans le Sud global.S'inscrivant dans le cadre des humanités numériques d'une part, et des politiques de la musique populaire d'autre part, ce projet analyse la manière dont les identités intersectionnelles sont médiatisées par les productions culturelles dominantes sur les plateformes numériques. Ce projet analyse de manière critique l'esthétique de la vidéo, les paroles et les commentaires extraits de la vidéo musicale "Lahu Di Awaaj" de Simiran Kaur Dhadli. Les 1,3 millions de vues de la chanson, ainsi que le contenu des vidéos réactionnaires, mettent en évidence la production et la reproduction de la culture dominante, ainsi que la position des femmes dans notre société. En utilisant l'ethnographie numérique comme méthodologie de recherche, ce projet met en évidence la manière dont les nouveaux espaces médiatiques contribuent aux cybercultures par le biais de ce que j'aimerais appeler le techno-habitus existant. Il montre en outre comment, dans une société patriarcale comme la nôtre, la misogynie est rendue opérationnelle dans les nouvelles plateformes médiatiques en ce qui concerne la diaspora pendjabie.

Sammendrag I Karin Moes fjerde bok MORDATTER er det en rekke referanser og allusjoner til psykoanalyse og surrealisme. I denne artikkelen vil to korte tekster fra samlingen, begge skrevet i dialogform, bli undersøkt med utgangspunkt i disse referansene og allusjonene. I begge dialogene er ei ung jente en av talerne, og hun kommenterer blant annet ødipuskomplekset. Artikkelens tese er at Moe med utgangspunkt i påpekning, parodiering, overskridelse og vulgarisering av noen av Freuds mest fundamentale ideer om det ubevisste også produserer en ny form for surrealisme, hvor kjernen er en kunstnerisk bearbeidelse av den «mannlige» surrealismens tilnærming til psykoanalysen. Analysen demonstrerer hvordan noen elementer fra den «klassiske» surrealismen og dens kontekst gjennomgår en form for transformasjon og kritisk bearbeidelse i Moes arbeid, med et feministisk perspektiv som utgangspunkt og den unge jenta som talerør og reflekterende subjekt. Tekstene kan leses som eksempler på en subversiv surrealisme, som Moe selv i et essay kaller vestlandssurrealisme.

Analysis of the film Poor Things by director Yorgos Lanthimos. A pregnant woman, Bella, throws herself off a bridge to kill herself. A mad doctor retrieves the corpse and replaces the mother’s brain with that of the foetus she is carrying. In an adult body, we see a child developing through the ages to maturity. Bella learns about social behaviour, sexuality and freedom of thought by exploring the world and reading. In turn, she becomes a doctor, carrying out transformations on the bodies of living beings, both animal and human. The film inspires a number of philosophical and ethical reflections and illustrates female emancipation. [ABSTRACT FROM AUTHOR]

Aquest article cerca comprendre de quina manera l’art pot contribuir a donar a conèixer i visibilitzar les identitats de gènere no normatives. Amb aquest objectiu, i a través de l’anàlisi d’un cas d’estudi, l’exposició L’Altre Ubic, Migracions del Cos Fragmentat (2020-2023) que recull obres d’art contemporani entorn la fluïdesa del gènere, es planteja la gestió cultural i el revisionisme discursiu queer-feminista com l’estratègia pràctica per construir una gestió cultural més inclusiva i contemporània. L’article explora com L’Altre Ubic presenta característiques principals de la gestió cultural queer-feminista: el revisionisme discursiu de les narratives hegemòniques entorn el gènere, un posicionament situat, la recuperació de narratives minoritzades, la recuperació dels discursos no lineals i la contextualització històrica dels mateixos. Les conclusions recullen l’especificitat del cas d’estudi: d’una banda el seu caràcter meta-cultural i semiòtic; de l’altra, en tant que exemple paradigmàtic de la gestió queer-feminista més enllà dels espais museístics, específicament orientada als espais de dinamització cultural, tals com centres cívics, centres de cultura contemporània i fàbriques de creació. Partint d’una perspectiva construccionista, l’article conclou emfatitzant el caràcter palimpsèstic de les narratives col·lectives, com ho són aquelles entorn la gestió de la cultura i la identitat.

La prolifération récente des clubs de lecture dans l’espace culturel francophone pousse à interroger la façon dont de tels espaces sociaux informent la fiction et alimentent un imaginaire de la lecture comme activité politisée et collective, notamment pour les femmes et les féministes. Les échanges qui y ont cours stimulent un imaginaire de la littérature comme activité politisée, dont la continuité avec l’action militante est parfois supposée, quand la lecture n’est pas perçue comme le seul instrument d’un selfcare. À l’aune de ce constat, le présent article entend questionner les modalités du transfert du modèle social du club de lectrices au sein de fictions romanesques contemporaines francophones, à savoir dans les romans de Chloé Delaume, Wendy Delorme, Antoinette Rychner et Antoine Volodine. En dégageant les typologies de ces clubs fictionnels, l’imaginaire de la lecture véhiculé, les activités et les valeurs auxquelles la lecture est associée, il s’agit de déterminer ce que signifie, dans cet imaginaire, organiser des collectifs pour prendre soin, tisser du lien et, dans certains cas, organiser une faction armée (physiquement et intellectuellement) contre l’oppression (patriarcale et sexiste).

Si les lectrices ont longtemps été associées, d’une part, à une forme de vulnérabilité, liée au topos des dangers de la lecture, d’autre part à une vision érotisée de la lecture, force est de constater que la période contemporaine travaille à modifier ces images. L’essor des pensées féministes, de la réflexion sur le genre, et l’inflexion pragmatique des théories de la réception sont autant de nouveaux héritages critiques qui modifient la représentation littéraire des femmes et, a fortiori, des lectrices. De telles figures permettent alors, de manière privilégiée, de penser les pratiques de la lecture au prisme du genre. Il s’agira ainsi de se demander si la lectrice est un lecteur comme les autres pour évaluer la manière dont la littérature crée ses propres savoirs critiques sur le genre.

In July 2022, in the library of the Centre d'histoire et Théorie de l'Art, the journal’s team discussed the intellectual history of the laboratories that founded it (CEHTA, LAS, GAHOM-ALHOMA, ANHIMA). Giorgio Fichera, Clémentine Girault and Clovis Maillet met Élisabeth Lebovici, who had attended Hubert Damisch's seminars before moving to New York and becoming an art critic and author. The discussion focused on the intellectual paths of the 1980s and the reasons for the non-encounter between feminist and post-structuralist theories.

Starting in 1917, the American Red Cross (ARC) mission in the département of the Seine-Inférieure (France) announced the era of diplomatic philanthropy which would be deployed by the United States between the two world wars. The mission also makes it possible to measure the gap between US and French health organizations. The local scale, in this small département in the west of Normandy, enables us to unearth the health, political and strategic issues at stake in this intervention, with French and Belgian refugee populations very affected by the conflict. It also shows how French women, who were very active in social assistance and war charities, saw working alongside the ARC as an opportunity to demonstrate their skills and know-how. They became interlocutors in the relations that played out between French doctors, the municipal authorities and ARC staff. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation 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 Akofena is the property of Universite Felix Houphouet Boigny 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.)

Focusing on four jurisdictions where abortion facilities and providers faced violent attacks following the Morgentaler decision of 1988, this study compares provincial government responses to core feminist demands in the area of women's reproductive health: enhanced hospital access, public funding of clinic abortions and safe zone protections. Consistent with previous research on childcare and anti-violence policies, the study finds that in neoliberal times, the presence of left governing parties in Alberta, British Columbia and Ontario generally favoured abortion rights interests while conservative regimes disadvantaged them. The article contributes valuable new insights in revealing (1) the importance of centrist leaders in Ontario and at the federal level to pro-choice policy changes, (2) the significance of feminist critical actors to these outcomes, and (3) major variation among New Democratic Party provincial governments on abortion policy. The conclusion discusses implications of these results and proposes directions for further research. [ABSTRACT FROM AUTHOR]

What does the approval in the entrance exam and entering courses at public universities mean for women? For some of these young women, it may mean escaping an oppressive family environment towards an academic space that still offers places to exercise critical thinking about class and gender inequalities linked to capitalism with slave roots. The objective of this article is to present the invention of a group device in psychoanalysis entitled "Roda de Conversa sobre Sonhos" (Conversation Cicle about Dreams) and to analyze two dream narratives and the group associative processes shared in two meetings that occurred in 2021. To this end, we discuss the theoretical matrices that supported the creation of the proposal and the three ways of treating dream material: singular, interpsychic accompanied by criticism of culture and prospective. The data produced was analyzed concerning the critical reading of feminist philosophers and psychoanalysts on patriarchy. On the one hand, it was possible to consider that the cultural industry affects dreams, shaping people's attitudes based on sexism and the expectation of salvation through romantic love. On the other hand, the associative chains indicated criticism of the social constraints that hinder female freedom. [ABSTRACT FROM AUTHOR]

This monograph represents an effort to understand the significance of a subgenre of reality TV (RTV) that I call Trash and Treasure TV (shows about flea markets, auctions, pawn shops, etc.), to people in an area of New Jersey known as the "Jersey Shore." Trash and Treasure TV programs surfaced from the wake of the Great Recession and were informed by capitalist mentalities articulated through a "masculine" calculating and accumulative voice. In turn, the forms of reproductive labor that occur in homes and communities were subordinated to individualistic, entrepreneurial discourses that suppressed intersubjective and cooperative discourses, which are associated with "the feminine." In undertaking this effort, I apply a critical media/cultural studies and feminist radical–empiricist approach to textual analysis and ethnographic methods. My research makes visible multiple audiences and reveals a failure of media governmentality and the erasure of reproductive labor, the underemployed, and the working poor from Trash and Treasure TV representations of Recession-era secondhand markets. [ABSTRACT FROM AUTHOR]

By turns intimate, scholarly, and political, this reflection of a working-class historian (by birth as well as choice) and feminist scholar of women, gender, and migration highlights the life experiences, intellectual awakenings, and contemporary historical developments that have informed her evolving scholarship. While acknowledging individual achievement, the emphasis is on how collaboration with a life partner/historian, colleagues, students, and activists, as well as "collective solidarities," have significantly shaped and enriched her career. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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 article, we argue for two distinct but complementary ideas. Feminism, as we understand it in Europe and North America, emerged from a collaborative and transnational construction that consolidated over the last two decades of the 19th century. The feminist movement underwent local political transformations, which also had transnational roots. The Swedish feminist periodical Framåt, published in the 1880s, is known as one of the main disseminators of the Nordic debate on morality and sexuality. However, Framåt’s fight for women’s rights went beyond the polemics that forged its success. It drew inspiration from abroad, to confirm Scandinavia’s role in the international movement for women’s emancipation. The following article illustrates this thesis with a Franco-Scandinavian case study. It looks more specifically at the strategy of the editor of Framåt (1886–1889), Alma Åkermark, who developed a Marxist-based socialist feminism open to working class readers, and inspired by the French movement. While her journal attracted a variety of radical opinions, Åkermark chose to establish the legitimacy of her cause by promoting the work of moderate French feminist Léon Richer, whose periodical Le Droit des femmes (1869–1891) was recognized for its longevity and international scope. Résumé Dans cet article, nous soutenons deux idées distinctes mais complémentaires. Le féminisme tel que nous le concevons en Europe et en Amérique du Nord est issu d’une construction collaborative et transnationale qui s’est consolidée au cours des deux dernières décennies du 19e siècle. Ce mouvement féministe général a ensuite subi des transformations politiques locales, qui ont également des racines transnationales. Le périodique féministe suédois Framåt, publié au cours des années 1880, est connu pour être l’un des principaux agents de diffusion du débat nordique sur la morale et la sexualité. Or son combat pour les femmes dépasse le cadre de la polémique sur laquelle il s’appuie. Il s’inspire de l’étranger, pour confirmer la place de la Scandinavie dans le mouvement international d’émancipation des femmes. Cet article illustre cette thèse à travers une étude de cas franco-scandinave. Il se penche plus précisément sur la stratégie de la rédactrice en chef suédoise du périodique Framåt (1886–1889), Alma Åkermark, qui développe un féminisme socialiste d’origine marxiste, ouvert à un public de classe ouvrière, et inspiré du mouvement français. Alors que son journal recueille des opinions diverses et des plus radicales, Åkermark choisit d’asseoir la légitimité de sa cause en s’alliant à la pensée du féministe français modéré Léon Richer, dont le journal Le Droit des femmes (1869–1891) est reconnu pour sa longévité ainsi que sa portée internationale. Mots-clés: Culture périodique; Suède féminisme; transnationalisme; 19e siècle; stratégie ditoriale

O advento e evolução da internet marcou o início de uma era em que as tecnologias digitais promoveram mudanças sociais, políticas, culturais e econômicas, as quais colocaram os usuários como protagonistas em espaços virtuais de autoria, colaboração e meios de expressão. Entretanto, ao mesmo tempo em que as mídias digitais favorecem a democracia, elas também a prejudicam, por manipular a população e perseguir as pessoas que lutam em prol das minorias sociais. Assim, esse estudo bibliográfico tece reflexões sobre como a era digital tanto favorece quanto exerce influências negativas para a democracia, a cidadania e o ciberfeminismo no Brasil. Com a realização da pesquisa, evidenciou-se que as mídias digitais contribuíram com a democracia participativa e deu voz a inúmeros movimentos que até então não tinham visibilidade, surgindo, assim, o ciberativismo. É o caso, por exemplo, do ciberfeminismo, que tem dado voz às mulheres na internet, que se organizam em torno de movimentos e causas variadas, potencializando a participação feminina em questões políticas e sociais. Contudo, apesar da importância das mídias para a atuação feminista, muitas mulheres ativistas são perseguidas por defenderem pautas de interesse de minorias excluídas socialmente. Inclusive, no plano político brasileiro, cada vez mais as pessoas têm tido acesso a inúmeras fontes de informação, que contribuem para a construção de uma visão crítica da realidade e, com isso, enseja a cidadania participativa. Porém, essas mesmas mídias fomentam processos negativos atravessados pela desinformação, pelas fake news e discursos de ódio que dividem as pessoas e fragilizam a democracia brasileira.

Bianca Kronlöf debuterade nyligen som författare med ett feministiskt manifest mot mäns våld. Även om hennes verk är ett bidrag till samhällsdebatten, visar det tydligt fram drag av Kronlöfs humor. Liv Strömquist är känd för sin feministiska satir i form av grafiska romaner, i vilka hon sammanställer humor och bitande feministisk kritik med historiska, filosofiska och sociologiska teorier. I min artikel undersöker jag det specifikt feministiska i deras humor och hur de använder sig av den för att främja sina (feministiska) mål. Jag kommer även att besvara frågan om humor är ett adekvat verktyg för feministisk aktivism. Medan nya studier i feministisk teori uppmärksammar vikten av feministisk humor i skämt, stand-up och i litterära verk, finns det ännu inte många studier av grafiska romaner. Genom att särskilt fokusera på sådana mindre utforskade medier och aktivisters kombination av olika medier, kommer jag att visa hur dessa kulturella praktiker är särskilt lämpliga för mångtydiga artikulationer och mångbottnade uttryck av feministiska idéer.

La réception des textes est toujours orientée par les discours, professionnels ou profanes, qui l’accompagnent et qui pour la plupart ne sont pas imputables aux auteurs et aux autrices. À partir de l’exemple de la réception de Blackbird, une pièce de David Harrower, dans un contexte pédagogique marqué par #Metoo, cet article définit une méthode de lecture et d’analyse des œuvres qui entend réfléchir à ce que font les textes et leurs interprétations, mais aussi les définitions de la littérature et les paradigmes interprétatifs que nous mobilisons pour les étudier : une telle lecture située entend ainsi prendre en compte ce que nous faisons quand nous parlons de littérature.