In lieu of an abstract, here is a brief excerpt of the content:Art as a Political Act:Expression of Cultural Identity, Self-Identity, and Gender by Suk Nam Yun and Yong Soon MinHwa Young Choi Caruso (bio)IntroductionA number of artists of color, including Asian American women, are creating art from the basis of their lived experiences. Within minority groups searching for their cultural identity, establishing self-identity is an important process. For various psychological and sociological reasons, artists seem (...) inspired to seek deeper meaning and a broader participation in cultural work.1 Asian American women artists, in particular, are currently making art as a means of exploring self-identity, cultural identity, and gender issues. Korean/Korean American minority women artists are creating art as a reaction to their cultural upbringing, which questions issues of identity, gender, ethnicity, politics, cultural, and socioeconomic status. These contemporary artists are breaking away from traditional cultural expectations and overcoming social barriers as artists, women, and Koreans/Korean Americans. With the growing public awareness of women's consciousness and sense of self as women in Korea and as an ethnic minority in America, these artists are redefining their identity. Despite the traditional patriarchal Confucian hierarchy; lack of social, institutional, and political support; and stereotypic gender, cultural, and socioeconomic status expectations for women, a few have stepped out of their traditional roles as women and have become successful artists in Korea and America.The artworks of these artists are worthy of investigation because they appear to be a culturally, socially, and politically motivated artistic expression of the complex multifaceted Korean/Korean American life experiences as women and as Korean immigrant members of a cultural (ethnic) minority in American society. Therefore, two main research questions can be posed: [End Page 71]• Given that art can be constructed out of layers of different experiences and influences, to what extent do the dimensions of cultural identity, self-identity, and gender interweave and contribute to the function of art as a political act for Korean/Korean American women artists?• How do Korean/Korean American cultural, social, and female experiences influence the artistic expression of Korean/Korean American women artists?In order to answer these questions, I selected case study methodology2 and adapted elements of interpretive biography,3 and narrative approaches as developed by Wallace and Gruber.4 According to Denzin,5 interpretive biography involves the collection and analysis of personal experiences, life documents, stories, accounts, and narratives that describe turning-point moments in individuals' lives. Denzin argues that personal experiences and personal stories are derived from a larger cultural, ideological, and historical context. The intent of the biographical project is to problematize the social, economic, cultural, structural, and historical forces that shape, distort, and otherwise alter lived experiences.By using narrative case study methods, I explore elements of self-identity formation, cultural identity, gender issues, personal thoughts, artistic expression, meaning of artworks, professional achievement, and life circumstances. I examine each participant's life in the Korean and American historical, cultural, social, and political environments. I interpret participants' outer lives (what they do) and inner lives (feelings, thoughts, inner self) to capture their deep, profound life experiences. I examine salient themes of their art expression and how the role of art and artistic activity is a part of political, cultural, social, and feminist activism. I further investigate their professional activities in order to identify the multiple roles that contribute to personal and professional identity formation.For the purpose of this study, I selected the contemporary Korean woman artist Suk Nam Yun and the contemporary Korean American woman artist Yong Soon Min as primary participants. These two women artists, despite many social and cultural barriers, chose to become artists; feminists; and social, cultural, and political activists; in addition to fulfilling traditional Korean family and domestic roles. Yun and Min are regarded as the leading contemporary Korean/Korean American women artists whose artworks deal with issues of cultural, social, feminist, political, and hybrid identity and art as political activism.Lippard acknowledges that visual images play an increasingly important role in society.6 Art that connects everyday experience with social critique and creative expression becomes a vital means of reflecting upon the nature of society and social existence.7 Artworks can function as... (shrink)

Enduring disparities in choice of college major constitute one of the most significant forms of gender inequality among undergraduate students. The existing literature generally equates major choice with career choice and overlooks possible variation across student populations. This is a significant limitation because gender differences in major choice among liberal arts students, who attend college less for specific career training and more for broader learning objectives, are just as great as among those choosing pre-professional majors. This study addresses (...) this gap by examining how privileged men and women at an elite, liberal arts university select their fields of study. Drawing on in-depth interviews, findings contradict the prevailing assumption of a unitary model of major choice as career choice by revealing a plurality of gendered meanings around choosing a field of study. Majors may play an important part in the construction of an intellectual identity as much as a means of career preparation. How students approach the choice relates to both gender and social background. For privileged students, traditional gendered associations with bodies of knowledge hold salience in their decision making as well as expectations of reproducing future elite family roles. This research also illuminates how gendered processes of choosing fields of study take place in relationship to particular institutional contexts. (shrink)

This edited volume takes a new look at an old question: what is the relationship between beauty and monstrosity? How has the notion of beauty transformed through the years and how does it coincide with monstrous ontologies? Contributors offer an interdisciplinary approach to how these two concepts are interlinked and emphasizes the ways the beautiful and the monstrous pervade human experience. The two notions are explored through the axis of human transformation, focusing on body, identity and gender, while (...) questioning both how humans transform their body and space as well as how humans themselves are gradually transformed in different contexts. The pandemic, gender crisis, moral crisis, sociocultural instability, and environmental issues have redefined beauty and the relationship we have with it. Exploring these concepts through the lens of human transformation can yield valuable insights into what it means to be human in a world of constant change. The book will be of interest to scholars working in art history, archaeology, philosophy, architecture, and cultural studies. (shrink)

ABSTRACT This essay analyses the visual representation of melancholy and related themes in the work of American artist Thomas Eakins (1844–1916). Its particular focus is Home Scene (1870–1871), an intimate portrait of two of the artist’s sisters in the parlour of their family home in Philadelphia. Through a close examination of Home Scene in relation to later portraits by and of the artist, my analysis sheds new light on how and why Eakins reshaped ideations of melancholy based in European art (...) and intellectual history within the context of nineteenth century American culture. While representing both the appearance and effects of melancholy in Home Scene and many other of his portraits, Eakins also constructed aspects of his own artistic identity in accordance with this theme. Analysing the ideas and practices that impacted these processes, this study shows how the artist’s life-long fascination with the intertwined subjects of melancholy, mental illness, and the trope of the misunderstood artist-genius informed his personal and professional lives as it intersected with prominent discourses on women, gender, and medicine in post-Civil War America. (shrink)

One of the most significant developments in the art world of the 1970s, 1980s, and 1990s has been the rise to prominence of art made by minority cultures. Race, Sex, and Gender examines the controversial challenges these groups present to today's artists and critics. Works by African-Americans, feminists, homosexuals, and Latino-Hispanics - once considered marginal - have come to transform contemporary art. As this so-called minority art has moved into a more dominant position, museums - once official symbols of (...) culture - have formed a more secure alliance with the avant-garde. The result is that "minority" art has become, in effect, our most major concern. In this provocative volume, art historian Edward Lucie-Smith seeks to determine how these different groups came to acclaim, and how they have revolutionized the kind of art shown in museums and galleries. Cindy Sherman, Robert Mapplethorpe, Jean-Michel Basquiat, Nancy Spero, Hannah Wilke, Larry Fuente, Cheri Samba, and Martin Puryear are among those artists whose work is pictured and discussed as Lucie-Smith probes issues of racial identity, sexual orientation, and gender politics. Statements from the artists as well as from theoreticians and critics are given, offering additional commentaries on these crucial new topics. Organized by profusely illustrated chapters devoted to specific minority groups, Race, Sex, and Gender is a timely introduction to the issues that are shaping contemporary art. (shrink)

Farah Nayeri addresses the difficult questions plaguing the art world, from the bad habits of Old Masters, to the current grappling with identity politics. For centuries, art censorship has been a top-down phenomenon--kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art. Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this (...) new world order, artists, critics, philanthropists, galleries and museums alike are recalibrating their efforts to increase the visibility of marginalized voices and respond to the people's demands for better ethics in art. But what should we, the people, do with this newfound power? With exclusive interviews with Nan Goldin, Sam Durant, Faith Ringgold, and others, Nayeri tackles wide-ranging issues including sex, religion, gender, ethics, animal rights, and race. By asking and answering questions such as: Who gets to make art and who owns it? How do we correct the inequities of the past? What does authenticity, exploitation, and appropriation mean in art?, Takedown provides the necessary tools to navigate the art world"--Publisher's description. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 575 Geneviève Pagé Gender at the Crossing: Ideological Travelings of US and French Thought in Montreal Feminism This article recounts a story about Montreal feminism using the narrative thread of its conceptual language. It is a story of language as a political choice that guides our actions, but also language as a political issue, a barrier, a (...) tool that structures our thinking and that reflects and reproduces relations of power in knowledge production and dissemination. Gender is the central character in this story—its role representing the way US, French, and Quebec theoretical traditions are deeply in dialogue with each other; yet this dialogue is arbitrary and filled with long silences. In reviewing the dialogue, this article identifies a few elements that play a significant role in favoring or impeding the traveling of ideas and concepts, focusing, in the case of Quebec, on how part of the feminist movement, comprised of radical or “revolutionary” feminists, engages with and constructs theory. The article begins by briefly tracing the evolving meanings of gender in the United States from the 1920s to the twenty-first century. Then, turning to France, a second section identifies elements limiting the traveling of US understandings of gender in French feminist theory, especially the predominance of specific traditions of thought, namely existentialism and Marxism, leading to different ways of thinking about oppression, patriarchy, sexism, and the idea of womanhood. In a third section, I shift the focus to Quebec, particularly Francophone Montreal, to survey its feminist thought, political traditions, and 576 Geneviève Pagé translation. Its history, its people, and its geographic location put it at the convergence of US and French influences, but with a distinct added local imperative: the struggle for national liberation. The specific ways in which Quebec nationalism has foregrounded power and politics around language has had a major impact on how Quebec feminists have negotiated relations with their southern feminist neighbors. In this sense, Quebec feminism presents an excellent case study of language operating as an axis of power. Furthermore, in the context of globalization and resistances to globalizing processes, Montreal provides a perfect example by which to highlight both transnational influences and local specificities. Montreal, as a classic example of Mary Louise Pratt’s cultural and linguistic “contact zone”—the space where communities of practices interact—is a city in which one can clearly identify “the intellectual and linguistic points of contact between cultures, and make visible the political pressure that activates them.”1 I treat translations that occur in this context as the process of connecting and communicating between communities. As queer theorist Juana María Rodríguez has noted in another context, “the process of translation involves more than merely translating languages; it involves translating cultures, values, and institutions of power.”2 Similarly, translation here involves an exchange between symbolic and semiotic structures of both the original and the new communities. Zooming out of Montreal, I then address the politics of translation on a more global scale, pointing out the particular ways the production and dissemination of knowledge is especially beholden to market relations. All these reflections help us understand the traveling of ideas, concepts, and ideologies across linguistic barriers. I conclude that it is in the interest of feminists to pay particular attention to what knowledge is produced from different standpoints and in different languages and what it can teach us. 1. Mary Louise Pratt, “Arts of the Contact Zone,” Profession (1991): 34; Sherry Simon, Gender in Translation: Cultural Identity and the Politics of Transmission (New York: Routledge, 1996), 36. 2. Juana María Rodríguez, Queer Latinidad: Identity Practices, Discursive Spaces (New York: NYU Press, 2003), 19. Geneviève Pagé  577 Gender in the United States It is among US feminists that the conceptualization of the gender/sex dichotomy first developed. However, gender—the word—ironically comes to English from the French genre and shares with that word its derivation from the Latin genus, meaning “kind,” “sort,” or “type.” The derivation is most visible in the borrowing in English of the French genre, for example, in literary forms such as fiction or poetry. Similarly, both the English... (shrink)

This paper presents an interpretation of the 1945 forbidden film Scarlet Street in a way so as to touch the problem of gender in film noir. Firstly, I give an ac-count of film noir, agreeing with Robert Pippin’s argument concerning film genres. Then, I claim that time and repetition, irony and hierarchy, art and per-spective constitute the core subjects explored in Scarlet Street. Furthermore, I try to connect all the subjects into a single one. My point is to show (...) how art, perspective, time, repetition, irony and hierarchy are articulated in the main character’s gender identity. Finally, I suggest there is a deep connection be-tween the movie’s character constitution and Cavell’s understanding of gender and agency.Keywords: Film. Gender. Psychoanalysis. Cavell. Freud. (shrink)

There has been little considered reflection by Catholic theologians on the concepts of gender identity, gender dysphoria and gender transition. Seeking inspiration in the Scriptures, some Catholic thinkers have interpreted the first three chapters of Genesis and especially the text ‘male and female he created them’ (Gen. 1:27) as requiring all human beings to live in the gender role congruent with their biological sex, and have viewed the biology of sex as self-evident. This article argues (...) that these chapters constitute an appropriate locus for reflection on theological anthropology but that they need to be taken together with other texts and especially with the explicit teaching of Jesus Christ. In the Gospel according to Matthew, the one occasion in which Jesus invokes this passage from Genesis is when he draws attention to exceptional examples in nature and, in a striking phrase, states that some ‘have made themselves eunuchs for the sake of the kingdom of heaven’ (Matt. 19:12). If the Genesis text is interpreted in the light of the words of Christ, the binary division of the sexes, while ordained by God and the basis for a vocation to marry and procreate, admits of exceptions both natural and supernatural. (shrink)

This cross-disciplinary collection of essays focuses on gender from multiple perspectives. The main themes include human rights, political economy, cultural diversity, democracy, immigration, dignity, care, and shifts in hegemonic male models of societies.

In African philosophical literature, and especially in Afro-communitarianism, there are discussions about the value of the relationship an individual has with her respective community. By community, reference is made to the metaphysical holistic view of community which includes all beings in nature. But since the article deals with gender, which is a social construction, most of the arguments appeal to a narrower version of community, that of human beings. Therefore, discussions about “value” refer to the value that is given (...) to the relationship that surpasses any individual value, and it applies or appeals to human beings. One implication of this understanding and the prioritisation of the relationship is that identity is something that is conferred by this sort of relationship. In this article, we argue that this way of understanding “identity” from an Afro-communitarian world view has something to offer in understanding or conceptualising gender(ed) identity(ies). The assumption is that gender identity will be understood as socially conferred and most importantly, one that takes community as essential. (shrink)

IN/Search RE/Search' offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters: The Anthropocene Epoch; The Climate Crisis; The Coexerced Existence, The Limitations of Language; Facts and Fictions; The Fragile Human; The Instrumentalised Identity; Gender and Violence; The Question of Race; Politics of Public Space; Naked Capitalism; The Morality of a Cyborg. These themes are analysed through art and design projects. The projects (...) are further contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks. 00By bringing together various practices (arts, design and writing practices and academic research), 'IN/Search RE/Search' shows how artistic research processes are designed and performed. The kaleidoscopic convergence of the featured approaches promises an exciting shift in thinking about how knowledge within the arts comes about, and how this knowledge nurtures daily practice, and vice versa. In this way, this publication discloses methods of thinking and working through which a new generation of artists/designers/researchers is shaping scenarios for the near future.00The core of this publication is formed by various art and design projects by students of the Rietveld Academie and the Sandberg Instituut. Many of these projects confuse, blur and confront what is traditionally relevant in research practices. These young artists demonstrate what happens when ideas and practices that seem to be miles apart within the traditional domain of research, are suddenly allowed touch upon and influence each other. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of (...) globalization, time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

This article deals with questions concerning the nature of representation of the female body within the so-called `oriental' discourse in Serbian art: Who is the painter? For whom is the work painted? With whom is the work identified? With what other possibilities of identification does the work leave us? In the context of the historical codes, a stance towards a body is seen as a projection of the social, cultural and power impulses. In the first case studied, the artist was (...) a male commissioned by the Serbian court to paint a series of paintings for the indigenous population and foreigners. In the second case, the artist was also male, a Serb working in Vienna, who painted for the audience of the `real Europe' from the position of an identity alteration. The third case focuses on a female artist, Babett Bachmayer Vukanovic, who was born in Germany but after marrying a Serb moved to her husband's homeland. Visual constructions of female bodies are used as the starting point for the deconstruction of ignored gender-related questions in analysing époque. (shrink)

Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, _Quotational Practices _shows how artists and writers use quotation not to undermine authorship and originality, but to (...) answer questions at the heart of twentieth-century philosophies of history. Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place. Ultimately, _Quotational Practices_ reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediums—from concrete poetry and the artist’s book to performance, painting, and video art. (shrink)

This volume sets out to re-imagine the theoretical and epistemological presuppositions of existing scholarship on identities. Despite a well-established body of scholarly texts that examine the concept from a wide range of perspectives, there is a surprising dearth of work on multiple, heterogeneous forms of identity. Numerous studies of ethnic, linguistic, regional and religious identities have appeared, but largely in isolation from one another. Rethinking 'Identities' is a multi-authored project that is original in providing - in distributed and granular (...) mode - a hyper-contemporary and wide-ranging applied analysis that questions notions of identity based on nation and region, language, ethnicity, gender, sexuality, religion or even 'the human'. The volume achieves this by mobilizing various contexts of identity (gender, ethnicity, sexuality, nation) and medium (art, cinema, literature, music, theatre, video). Emphasizing the extreme contemporary (the twenty-first century) and the challenges posed by an increasingly global society, this collection of essays builds upon existing intellectual investigations of identity with the aim of offering a fresh perspective that transcends cognitive and geographical frontiers. (shrink)

_Gendered Agents_, edited by Silvestra Mariniello andPaul A. Bové, presents essays by influential feminist theorists who challenge traditional Western epistemology and suggest new directions for feminism. By examining both literary and historical discourses, such critics as Gayatri Spivak, Hortense Spillers, and Lauren Berlant assess questions of sexuality, ethics, race, psychoanalysis, subjectivity, and identity. Gathered from various issues of the journal _boundary 2_, the essays in _Gendered Agents_ seek to transform the model of Western academic knowledge by restructuring its priorities (...) and values. In the introduction, Mariniello urges feminists to begin anew but take as their starting place the achievements of feminism and feminist theory: an understanding of language that considers the implications of silence, the motivation to decompartmentalize experience, and the acknowledgement that everything is political._ _Challenging both a canonical organization of knowledge and the persistently self-referential "ghettoization" of feminism, contributors subsequently tackle subjects as diverse as pre-Marxist France, the American fetus, black intellectuals, queer nationality, and the art of literary interpretation. _Contributors_. Lauren Berlant, Karen Brennan, Margaret Cohen, Nancy Fraser, Elizabeth Freeman, Carol Jacobs, Silvestra Mariniello, Larysa Mykyta, Laura Rice, Ivy Schweitzer, Doris Sommer, Hortense J. Spillers, Gayatri Chakravorty Spivak, Judith Wilt. (shrink)

Interrogating the totalizing perspectives on Chinese gender studies that typically treat China only in binary opposition to the West, “Other Genders, Other Sexualities” focuses on the dynamics of difference within China and probes the complex history of Chinese sexuality and gender formations. The centerpiece of this special issue is the first English translation of Li Xiaojiang’s 1983 post-Mao feminist retheorization of women’s emancipation and sexual differences. Other topics addressed include the emergence of the “modern girl” in early twentieth-century (...) China, the legacy of socialist gender practices in rural cultures, transgender performance on Chinese television, the political ambivalence of Chinese gay identity in the cinema, and early Chinese gender configurations in East Han art and writing. By recognizing the gender implications of China’s competing economic ideologies, this issue generates critical insights and new perspectives for the study of Chinese history, gender and sexuality, and feminist culture. Contributors:_Hongwei Bao, Tani Barlow, Dong Limin, Chengzhou He, Sarah Kile, Li Xiaojiang, Lingzhen Wang, Yu Shiling Lingzhen Wang_ is Associate Professor of East Asian Studies at Brown University. She is the author of _Personal Matters: Women's Autobiographical Practice in Twentieth-Century China_. (shrink)

The purpose of this article is to develop and illustrate an approach for making the commonplace visible in a natural, as opposed to manipulated, social setting. The key research task was to find a way of capturing the ongoing production or enactment of the self that provides some insight into the way in which it is produced in a routine, matter of fact way. The article takes a number of steps to develop a research approach to the task. First, (...) class='Hi'>gender-identity was selected as a more specific aspect of self-production. Second, the concept of "flashpoints" was used to refer to a particular moment in the routine which achieves some significance or salience as a result of the participants seizing upon some otherwise unremarkable action or statement and twisting it to their purpose. In this study, the purpose was gender-identity creation. Primary school children in the classroom and their teachers were the participants of the study. Through the use of flashpoints, the article demonstrates how gender-identity production of these children can be caught in flight. The article concludes that this approach can be added to the researcher's toolkit. (shrink)

Transgender legal protections have long been contentious issues, with courts often pathologizing or refusing recognition of transgender identities. Recently, however, courts adjudicating asylum claims have recognized “transgender” as a legitimate category of protection. I take this legal development as an opportunity to ask how courts determine if individuals are transgender. While previous work has shown how courts maintain the gender binary, asylum law offers the first chance to analyze how recognizing a distinct transgender category affects the legal gender (...) order and the classification of trans claimants. Drawing on court decisions, ethnographic observations, and interviews, I argue that the recognition of transgender as a category implicitly acknowledges the malleability of gender. Yet, the adjudication of transgender asylum cases continues to uphold a fixed and binary conception of gender by assuming a “born into the wrong body” narrative and that claimants should always already know their gender identities. Courts thus enforce a cis–trans binary wherein only certain claimants are found “trans enough.”. (shrink)

This volume addresses how spatialized identities, belongingness and hospitality are interrogated in British and Irish contemporary art (painting, installation, video, photography, new public art) at a time when economic and political crises tend to encourage individual or exclusive usages of space. It sketches a cartography of encounters encompassing the home, the neighbourhood, the village or city, and the nation. Artists interrogate how intimacy is both facilitated and threatened by spatial devices, how space fashions our perception of gender, social or (...) ethnic identity and activates power relations. They explore the need for a home or a homeland and the various forms exile or placelessness can take. They may also take part in the restoration of the Commons and the constitution of alternative communities. Whether the analyses focus on the private sphere (in urban, suburban or rural contexts), or on shared communal spaces, they ponder the mechanisms of inclusion and exclusion at work in human encounters and shed light on how artistic apparatuses make the tensions between openness to the other and rejection or withdrawal perceptible. The approach, borrowing from art history as well as anthropology lays emphasis on context, situationality and field work; it proposes to repoliticize relational art and concludes on the dialogical positionality which lies at the core of art. (shrink)

There is evidence of widespread concern over the challenge to aesthetic theorizing posed by the introduction of elements of randomness or chance into the structuring of art works. Prompted by a share in that concern I want to consider two distinct though related issues. Although I shall be primarily concerned with these issues as they arise in musical aesthetics and music theory, much of what emerges could, without excessive remodelling, be extended to cover analogous possibilities in other art forms.

As a contribution to the Common Knowledge symposium “Caroline Walker Bynum across the Disciplines,” this essay stresses Bynum's commitment to the methods and questions of history but also the unparalleled impact of her work on adjacent fields, including and perhaps even especially art history. Furthermore, her body of scholarship registers a consistent engagement with art historians. Weaving together personal memoir and historiography, this article sketches the manifold ways in which Bynum's publications have responded to and shaped the contours of medieval (...) art history in America since the early 1990s — particularly with respect to questions of gender, body, identity, violence, and materiality — and the formative role that her mentorship and pedagogy have played in the author's development as an art historian. (shrink)

Despite a “spatial imaginary” which constructs Europe as a location of sexual and gender freedom (Rao, 2014), presently, twenty countries in Europe require sterilisation in order to legally recognise transgender people’s gender identities, including four of the seven countries in the INFERCIT study: Greece, Italy, Turkey, and Cyprus (but not Spain, which since 2007 does not require sterilisation for gender identity recognition [see Platero, 2008]. In Bulgaria and Lebanon no gender identity recognition for trans (...) people is provided by law; the latter lies outside the “European” region) (TGEU, 2014). Compulsory sterilisation—classified as a crime against humanity in the Rome Statute of the International Criminal Court (UN General Assembly, 1998: art. 7.1)—is widely in force against transgender people, who constitute “the only known group in Europe subject to legally prescribed, state-enforced sterilisation” (Hammarberg, 2009: 19). However, forced sterilisation of trans people is not generally conceptualised as a eugenicist or genocidal policy, in part because sterilisation is conflated with gender reassignment surgical interventions which, widely considered as that which brings transgender bodies into being, are in turn conflated with embodied transgender subjectivities. On this view, transgender individuals could not exist except through a medicalised process that, by design, precludes their “natural” reproductive capacities and is generally not accompanied by fertility preservation or the provision of assisted reproduction technologies (Plemons, 2014: 38; De Sutter et al., 2002; De Sutter, 2001). Sterilisation laws are justified through a pathologising discourse on transgender lives which constructs gender reassignment interventions as medical “treatment” of gender identity disorder (Suess, Espineira & Crego Walters, 2014: 73-76). Adopting a depathologising perspective enables us to contextualise compulsory sterilisation (which naturalises the sexually dimorphic, cisgender, heterosexual body) as a form of “gendercide” which has historically been instrumental in the imposition of a Euro-colonial binary gender system (Miranda, 2010; Lugones, 2007). The state-imposition of medical interventions on trans people not only has deleterious effects on their reproductive rights, “effectively undermin[ing] their right to found a family” (Hammarberg, 2009: 21; see OHCHR et al., 2014)—as “family” is hegemonically defined by a heteronormative and bio/ logical kinship order (Butler, 2002; van Anders, 2014). I argue that state regulation of transgender reproduction constitutes a form of institutionalised gendered violence inasmuch as it impedes transgender people’s ability to exercise inherent first-person authority over the materiality and meanings of their gendered embodiments (Bettcher, 2009; Spade, 2013). Efforts to renaturalise gender and kinship inextricably intersect (Kantsa, 2006) in the biopolitical attempt to regulate transgender embodiments and reproduction, which conditions the emerging legal recognition of transgender subjects as a rights-bearing minority (Stryker, 2014). (shrink)

Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together (...) an international group of scholars from several disciplines who explore gender and femininity, sexuality and its several iterations, and the politics of everyday life and culture. (shrink)

The AI and Society discourse has previously drawn attention to the ways that digital systems embody the values of the technology development community from which they emerge through the development and deployment process. Research shows how this effect leads to a particular treatment of gender in computer systems development, a treatment which lags far behind the rich understanding of gender that social studies scholarship reveals and people across society experience. Many people do not relate to the narrow binary (...) gender options of male or female, and many people express their gender identity in much richer ways than the sex/gender binary female/woman and male/man Boolean terms will allow. We ask: are “born-digital” gendered datasets in digital systems experienced as marginalising by those who express their identity beyond the male/female binary? Case Study: Ireland. To answer this universal question, this paper presents the findings of an empirical case study of people in Ireland with diverse gender identities and expressions, and their experiences with public data systems and new technologies. In spite of great social changes in Ireland which have led to constitutional change in favour of LGBTQI + people, born-digital systems were experienced by respondents as embodying socio-cultural values which were no longer accepted in society at large. For many of the respondents, digital technologies routinely marginalise them in all kinds of ways. These systems keep alive violence and oppression long after civil rights have been enshrined in constitutional law. This study is just one example of the way assumptions about digital are disengaged from society-at-large. It is a call to arms to all who are passionate about socially-responsible technology. (shrink)

What do the terms sex and gender identity, or gender history, mean in a medical context? When does it matter to a healthcare professional whether a patient has male or female reproductive biology?...

Drawing on the themes of men and masculinity, this article examines texts in the corporate social responsibility (CSR) reports of local multinational enterprises (MNEs) in South Korea, an emerging economy. This article explores how Korean male hegemony is hidden and naturalized in CSR reporting. Focusing on the discursive construction of gender identity, we analyze how CSR reports portray gendered identities in ways that may foster gender inequality by examining how the texts reflect the inferior position of women (...) and marginalized male workers in the workplace. We review 15 CSR reports from Korean MNEs as a primary data source for examining corporate policies and disclosure on gender‐equality issues in the workplace. We explore the inherently embedded meaning of CSR reports to evaluate the masculine tone of gender relations in these texts. To deepen our understanding, we retrieved the original text segments, coded them by using a categorical framework and revisited our data to critically examine our interpretation of the narrative structures that we argue reflect and reproduce certain discourses of masculinity, through the (in)visibility of women, the marginalization of women and (part‐time) men, and the silencing of their voices by the Korean male hegemony. (shrink)

Feminist approaches within the social sciences have expanded enormously since the 1960s. In addition, in recent years, geographic perspectives have become increasingly significant as feminist recognition of the differences between women, their diverse experiences in different parts of the world and the importance of location in the social construction of knowledge has placed varied geographies at the centre of contemporary feminist and postmodern debates. Gender, Identity and Place is an accessible and clearly written introduction to the wide field (...) of issues that have been addressed by geographers and feminist scholars. It combines the careful definition and discussion of key concepts and theoretical approaches with a wealth of empirical detail from a wide-ranging selection of case studies and other empirical research. It is organized on the basis of spatial scale, examining the relationships between gender and place from the body to the nation, although the links between different spatial scales are also emphasized. The conceptual division and spatial separation between the public and private spheres and their association with men and women respectively has been a crucial part of the social construction of gendered differences and its establishment, maintenance and reshaping from industrial urbanization to the end of the millennium is a central linking theme in the eight substantive chapters. The book concludes with an assessment of the possibilities of doing feminist research. It will be essential reading for students in geography, feminist theory, women's studies, anthropology and sociology. (shrink)

The postmodern rejection of essentialism does not mean that feminist theorists must abandon all categorizations of women. Indeed, while it is important to deconstruct identities and highlight the differences among women, we need to arrive at some notion of gender identity for political purposes. In paying careful attention to the distinction between nominal essences and real essences, the author shows that the category of women can be maintained without resorting to the problems of traditional essentialism. The author argues (...) that the marginalization of women is a product of culturally determined identities rather than ontological differences between men and women.Le refus postmoderne de l’essentialisme ne signifie pas que la théorie féministe doive abandonner toutes catégorisations de femmes. En effet, bien qu’il soit important de déconstruire les identités et mettre en valeur les différences parmi les femmes, il faut en arriver à une certaine notion d’identité sexuelle pour des raisons politiques. Se laissant guider par la distinction entre essences nominale et réelle,l’auteure montre que la catégorie de femme peut être maintenue tout en éludant les problèmes de l’essentialisme traditionnel. L’auteure soutient que la marginalisation des femmes est le produit d’identites determinées culturellement plutôt que de différences ontologiques entre hommes et femmes. (shrink)

The Art and Craft of Political Theory provides a critical overview of the discipline's core concepts and concerns and its development of critical thinking and practical judgment. The field's interdisciplinary strengths are deployed to grapple with emerging issues and engage afresh enduring ideals and quandaries. While conventional definitions of key concepts are provided, original and controversial perspectives are also explored, revealing continuity in a tradition of thought while emphasizing its diversity and innovations. The Art and Craft of Political Theory illustrates (...) the analytic and interpretive skills, the moral and philosophic discernment, and the historical knowledge needed to appreciate a tradition of thought, to contest its claims, and to make good use of its insights. Topics include: - Science, Ideology, and Normative Theory - Biology, Culture, Human Nature, Power and Violence - Ancient, Modern, and Postmodern Political Thought - Liberty, Equality, Justice, Reason, and Democracy - Racial, Religious, Gender, and Economic Identities - Liberalism, Socialism, Capitalism, Communism, Anarchism, Feminism, and Environmentalism - Social Media, Automation, Artificial intelligence and other Emerging Technologies This concise, lively, and accessibly written book is essential reading for all students of political theory. (shrink)

Resumen El objetivo general del trabajo es analizar las influencias y recepciones del post-estructuralismo en las lecturas de Judith Butler y sólo algunas derivaciones en el pensamiento de Paul B. Preciado. A partir de este rastreo se pueden establecer las críticas de la teoría queer al feminismo a través de las imágenes y textualidades que propone el arte. La hipótesis general del trabajo supone que, a partir de la recepción del postestructuralismo en los análisis de Butler y Preciado, se podría (...) reconocer en la estética la capacidad crítica y política que las teorías de la identidad sexual pretenden lograr. A los efectos de identificar estos legados nos detendremos en reconocer los aportes de Jacques Derrida en la obra de estxs autorxs. Para finalizar dejamos planteadas algunas críticas que podrían advertir sobre los posibles límites en el plano de la estética de las teorías de género.The general objective of this article is to analyze the influence of post-structuralism in the thought of Judith Butler and Paul B. Preciado. It is argued that queer theory’s critique of feminism can be established through the images and textualities proposed by art; furthermore, on the basis of the influence of poststructuralism in Butler’s and Preciado’s analyses, one can recognize in aesthetics the critical and political capacity that theories of sexual identity intend to achieve. In order to identify these influences, we discuss the contributions of the ideas Jacques Derrida to the work of these authors. In conclusion, we raise some criticisms that warn of the possible limits of gender theories in the plane of aesthetics. (shrink)

Traditionally, in Spain bullfighting represents an ancient and well-respected tradition and a combined brand of sport, art and national identity. However, bullfighting has received considerable criticism from various segments of society, with the concomitant rise of the animal rights movement. The paper reports a survey of the Spanish citizens using a face-to-face survey during January 2016 with a total sample of 2522 citizens. The survey asked about degree of liking and approving; culture, art and national identity; socio-economic aspects; (...) emotional perception and animal welfare. The hypothesis proposed that the perception of bullfights may be affected by gender, age, occupation, origin and nationality of the persons surveyed. The hypothesis was confirmed. The majority of citizens surveyed do not like bullfights and great majorities do not attend or watch such events. Two extreme clusters were described: one representing favorable attitude towards bullfighting and other against bullfighting. The proportion of indifferent persons was important. Women and young people showed a more favorable attitude towards animal welfare issues associated with these events. Rural people were more accepting bullfights than urban people. Students were more anti-bullfight than those in other occupations. Additionally, technical economic factors made people favor more bullfights. The growth of claim against bullfights establishes an element of a far more multifaceted phenomenon that animal cruelty per se and support of a new paradigm called social change in countries as Spain. (shrink)

In the last few years, many countries have introduced (or are proposing to introduce) legislation on ‘conversion therapy’, prohibiting attempts to change or suppress sexual orientation and/or gender identity. This legislation covers ‘aversion therapy’, a form of torture that has already been criminalized in most progressive countries, and also ‘talk therapy’, involving things like counselling, psychoanalysis, and prayer. Focusing on this latter category of practices, I explain what is at stake in the fact that sexual orientation and (...) class='Hi'>gender identity have been paired for the purposes of this legislation. I use a particular law reform institute’s approach to this legislation as a case study, and review their literature review in mind to discovering whether they provided sufficient empirical justification for including gender identity in their conversion therapy legislation. I conclude that they did not, and suggest that the pairing of sexual orientation and gender identity may be purely political. (shrink)

Recognizing the right of LGBT students and educators to be out at school.

Our gender identity is our sense of ourselves as a woman, a man, as genderqueer, or as another gender. Our gender is the property we have of being a woman, being a man, being non-binary, or being another gender. What is the relationship between our gender identity and our gender? Recently, much work has been done on ameliorative accounts of the gender concepts that we should accept and on the metaphysics of (...) gender properties. From this work 4 views of the relationship between having gender identity G (e.g. having a female gender identity) and being a gender G (e.g. being a woman) have emerged. A first, the no connection view, says that gender identity and gender are entirely distinct; Sally Haslanger’s ameliorative account of gender, as well as Theodore Bach’s account of gender properties, are instances of this view. A second, the gender-identity-first view, says that all there is to our gender is our gender identity; this view is at least similar to views that Talia Bettcher and R.A. Briggs and B.R. George have argued for. A third, contextualist view, says that in some contexts and relative to certain standards, our gender identity determines our gender, and that in others it does not; Ásta and Robin Dembroff have proposed and defended views along these lines. A fourth view, the two gender properties view, says that there are two properties that can make it the case that one is gender G (in any context), one’s having gender identity G and one’s being socially classed as a G; Katharine Jenkins and Elizabeth Barnes have proposed views along these lines. This article explains these 4 different views and spells out their prospects, and the problems they face, as both ameliorative and as metaphysical views. (shrink)

The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. the nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese naked body (...) from the Western nude. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for knowledge inspired, (...) only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

The present study explored the relationship between attitudes toward transgender individuals and the judgments people make in transgression scenarios involving transgender and cisgender individuals of different ages in a sample of 184 Romanian students. We used a mixed-method approach and tested the effect of gender identity on participants' punishments in a hypothetical transgression. In hypothetical transgressions involving preadolescent transgender and cisgender agents, results suggested no differences in participants' theft punishments. However, adult cisgender transgressors received significantly harsher punishments compared (...) to transgender transgressors. Our qualitative analyses suggested that the most frequent categories of responses justifying the punishments confirmed the importance of the agent's age. Our findings suggested no significant associations between participants' gender and reported the previous contact with an LGBTQ member and the punishments they chose for child and adult transgressors. Results are discussed in light of their implication in the contemporary, highly LGBTQ intolerant Romanian context. (shrink)

Based on in-depth interview data and popular culture texts, the current study has explored the politics of reproduction revolving around women’s age in contemporary China. Conceptualizing reproduction as a site of contestation and politics between different, and often contradictory, sets of discourses and power structures, I pursue a feminist and social constructivist analysis of the politics of reproduction in the lives of a group of urban professional women who are yet to enter motherhood at their late 20s and 30s. I (...) engage with Inhorn’s concept of ‘disrupted reproduction’ to highlight the politically, morally and emotionally charged contestations in the ‘problematized’ reproductive lives of these women. I unveil how Chinese professional women beyond their ‘reproductive prime’ are discursively constructed as ‘disrupters’, who fail their femininity test tied to a motherhood identity within the family context, challenge the ‘natural’ biological law regulating their reproductive bodies, and face a doomed reproductive future fraught with medical, physical and emotional traumas which ART cannot alleviate. Such a discourse renders invisible the structural causes of problems and challenges professional women face in negotiating parenthood, social norms and selfhood, which systematically put them under pervasive social surveillance and discipline. (shrink)

Talk of gender identity is at the core of heated current philosophical and political debates. Yet, it is unclear what it means to have one. I examine several ways of understanding this concept in light of core aims of trans writers and activists. Most importantly, the concept should make good trans people’s understanding of their own gender identities and help understand why misgendering is a serious harm and why it is permissible to require information about people’s (...) class='Hi'>gender identities in public life. I conclude that none of the available accounts meets these essential criteria, on the assumption that the gender norms of femininity and masculinity are unjustified. But we can, and should, pursue the feminist project without “gender identity”. Such feminism can include trans people because it is possible to account for the specific harm of misgendering without assuming a claim to the recognition of our gender identities. I conclude that we should eliminate the concept of “gender identity.” To understand the phenomena that are putatively captured by “gender identity,” we are better off employing other concepts, such as “sexual dysphoria,” (assigned or aspirational) “gender roles,” and (internalised or endorsed) “gender norms”. These concepts can usefully replace “gender identity” in an individual evaluation of each of the trans people’s claims to inclusion into particular spaces. (shrink)

Traditionally, in Spain bullfighting represents an ancient and well-respected tradition and a combined brand of sport, art and national identity. However, bullfighting has received considerable criticism from various segments of society, with the concomitant rise of the animal rights movement. The paper reports a survey of the Spanish citizens using a face-to-face survey during January 2016 with a total sample of 2522 citizens. The survey asked about degree of liking and approving; culture, art and national identity; socio-economic aspects; (...) emotional perception and animal welfare. The hypothesis proposed that the perception of bullfights may be affected by gender, age, occupation, origin and nationality of the persons surveyed. The hypothesis was confirmed. The majority of citizens surveyed do not like bullfights and great majorities do not attend or watch such events. Two extreme clusters were described: one representing favorable attitude towards bullfighting and other against bullfighting. The proportion of indifferent persons was important. Women and young people showed a more favorable attitude towards animal welfare issues associated with these events. Rural people were more accepting bullfights than urban people. Students were more anti-bullfight than those in other occupations. Additionally, technical economic factors made people favor more bullfights. The growth of claim against bullfights establishes an element of a far more multifaceted phenomenon that animal cruelty per se and support of a new paradigm called social change in countries as Spain. (shrink)