This chapter contains sections titled: A New Tattoo Space The Savage and Civilization Nothing Ladylike About Being Tattooed? Ornaments, Crimes, and the Creation of a Feminine Tattoo Space From Tattoos to Graffiti Skinscape Recuperating the Political Body.

The skin is always and already a serietl of planes which signify race, gender, age and such. Tattooing creates a new surface of potential significance upon the body. Tattooing can call into question concepts of volition in reference to the power to inscribe and define one's subjectivity through one's own skin, and the social defining of the subject. Skin is the involution or event between subject and object, will and cultural inscription, the social and the self. Feminists, particularly corporeal feminists, (...) have attempted to think ways in which the female flesh may be recognized and self-defined without risking essentialism through reification of the meaning of ‘woman's body’. Thinking a tattooed female body thus resonates with some of the risks and benefits feminism has found in theorizing a marginalized body. Using Deleuze, Guattari, Lyotard and other major influences on corporeal feminists, this article explores ways in which significance is sought in skin, and possible configurations of skin and world, which challenge the desire to read the flesh as a legible incarnation of subjectivity. (shrink)

Belgian data from the PIDOP project show that boys are more involved than girls in illegal political actions, namely the production of graffiti and other acts of “incivility”. These activities must be considered in both groups as complementary to conventional political and social participation and not as their opposite. The main explanatory factor is the level of the perceived efficaciousness of such actions. The lack of trust in institutions and the level of awareness of societal discrimination play no significant (...) explanatory role. In males, the involvement level in these activities depends on feelings of personal discrimination and on the lack of freedom concerning individual choice, confirming the theory of societal vulnerability and Honneth’s theory of recognition. This level also increases along with increasing opportunities to make acquaintances and have fun in the neighbourhood. In females, this involvement is explained by the distance with regard to pro-sociality level. (shrink)

Today, esthetic thought takes pride in the fact that it no longer scorns familiar objects nor any form of everyday culture. Refusing to limit its domain to Fine Arts, it analyzes the products of artisans and industry, urban environment, costumes and customs, tattooing and graffiti. It thus confirms a tendency of contemporary creativity that rejects the separated status of art and defies the regulations of good taste.

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

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In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 25-27 [Access article in PDF] Gender, Body, Meaning:Anthropological Perspectives on Self-Injury and Borderline Personality Disorder Carolyn Sargent THE CENTRAL THEMES OF "Commodity Body/Sign: Borderline Personality Disorder and the Signification of Self-Injurious Behavior" reflect issues that cut across the disciplines represented by this journal and have received increasing attention from anthropologists. Medical anthropologists, as well as psychological anthropologists and others interested in symbolic analysis (...) of the body, have addressed such topics as the culture of biomedicine and the cultural shaping of psychiatric classification, the multiple meanings of body modifications, power relations in therapeutic interactions between doctor and patient, and cultural variation in understandings of normality and abnormality.Curiously, there is little anthropological literature that directly focuses on either borderline personality disorder (BPD) or self-injurious acts per se. Indeed anthropological research on psychiatric diagnosis, classification, and treatment, as well as ethnopsychiatry, include scant reference to personality disorders. One exception is Nuckolls' 1992 article, "Toward a Cultural History of the Personality Disorders," which raises pertinent questions for one of Potter's introductory statements—that the majority of those diagnosed with BPD are women. Nuckolls directly addresses gender ideology and gender roles in the United States in his comparison of antisocial personality and histrionic personality diagnoses. In his paper, he argues that these personality disorders have cultural histories and are strongly congruent with prevailing gender stereotypes, such that men are many times more likely to be diagnosed as antisocial than women and women much more likely to be diagnosed as histrionic (Nuckolls 1992, 37). He also historicizes the emergence of certain behavioral styles that have been seen as characteristic of women and men, and the evolution of psychiatric diagnoses that classify extreme manifestations of these behavioral styles.The issue of why women, rather than men, are more frequently diagnosed with BPD is not elaborated in Potter's article, although she notes the importance of considering the intersection of gender and "identifying behaviors" associated with BPD. Cultural analyses of gender ideology in the [End Page 25] United States might suggest that the connection involves gendered expectations concerning emotionality and relational context but these articulations remain intriguing and underexplored. One might speculate that BPD/self-injury occurs in the context of particular gender ideologies, perhaps in class-based, industrialized societies where the body is highly commodified. It appears that the history of this constellation of symptoms and behaviors remains to be written.Cultural analysis of self-injury, a theme that runs through Potter's article, tends to be embedded in the anthropological literature on body ornamentation, initiation rituals, and "culture-bound" syndromes. Mascia-Lees and Sharpe (1992, 1) describe the body as "a site of adornment, manipulation, and mutilation," practices with roots reaching back as far as 30,000 years, and include as examples head deformation, scarification, foot binding, tooth filing, lip plates, nose rings, tattoos, subincision, and genital cutting.However, the concept of self-injury, as Potter notes, is problematic in the discipline of anthropology given the significance historically accorded to cultural relativism. Correspondingly, body "modification" is not "self-injury" as long as it is socially normative, for example, a facet of an initiation ordeal or body ornamentation (e.g., circumcision, scarification, piercing). Among the rare examples of acts that seem readily identifiable as "self-injury" are New Guinea practices of cutting off a finger to demonstrate mourning and Baatombu (West African) male finger amputation to show grief and anger over a wife's infidelity. Both are, however, considered culturally legitimate and not indicative of pathology.Potter's argument draws heavily on the notion of "body as text," derived largely from literary theory and feminist philosophy (Butler 1990; Jaggar and Bordo 1989). The perspective of "body as text" has influenced anthropological theory over the past two decades, particularly in the interpretive and postmodernist schools of thought. The body as a text of femininity is aptly characterized by Bordo, who argues that the continuum between female disorder and normal femininity is revealed by means of an analysis of symbolic meaning of gender in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Amazons: Lives and Legends of Warrior Women across the Ancient World by Adrienne MayorAlison KeithAdrienne Mayor. The Amazons: Lives and Legends of Warrior Women across the Ancient World. Princeton: Princeton University Press, 2014. xiv + 519 pp. Cloth, $29.95.Adrienne Mayor is a historian of classical folklore and ancient science and the author of several books whose subjects lie at the intersection of classical myth and ancient history (...) with archaeology and the history of science: an exploration of monsters and heroes in the repertoire of classical myth as a response to the discovery of fossils in The First Fossil Hunters (Princeton 2000); a wide-ranging collection of evidence for biological and chemical warfare in the ancient world, Greek Fire, Poison Arrows, and Scorpion Bombs (New York: Overlook Press, 2003); and a sympathetic biography of Mithradates VI Eupator of Pontus in The Poison King: The Life and Legend of Mithradates, Rome’s Deadliest Enemy (Princeton 2009); as well as an investigation of indigenous North Americans’ accounts of fossils, in Fossil Legends of the First Americans (Princeton 2005). Like her earlier volumes, The Amazons brings together an extraordinarily wide array of evidence, uncovered through prodigious research across such diverse fields as classical mythology, ancient history, and contemporary archaeology of the central Asian steppes, and the results are presented with her trademark narrative brio. As with these earlier volumes, moreover, Mayor has an agenda in The [End Page 174] Amazons: here she seeks the historical reality that lies behind the ancient Greek myths of barbarian warrior women; and she finds it in the recent archaeological discoveries of female warriors interred on the central Asian steppes from the Caucasus to western China.Mayor sets out her premise in a prologue that takes its bearing from the myth of Atalanta, whom she dubs “the Greek Amazon” (1–13): her project is to investigate where the Greeks might have encountered real women warriors like Atalanta, capable of besting men in footraces, on the battlefield, and in the hunt. Her study falls into four parts: Part 1 (17–59) asks, “Who were the Amazons?” and identifies ancient Scythia, with its many horse-riding and horse-herding nomadic tribes, as the homeland of the Amazons. Part 2 (63–246) surveys the archaeological and scientific evidence for female warriors among the nomadic tribes of the central Asian steppes in prehistoric and historic times. In this section, Mayor considers the evidence afforded by the bones of buried nomad warriors misidentified as male (because of the weaponry and horses accompanying the burial) when they were originally excavated but recently recognized as female as a result of newer scientific techniques of examination (chap. 4); the body armor found in the steppe graves, in a discussion which has recourse to comparative ethnography, yielding a rich history of breast suppression (chap. 5); the tattooing practices of the historical nomadic tribes of the steppes in relation to the iconography of Amazons’ tunics and leggings on classical vase paintings (chap. 6); ancient accounts of Amazons’ dress (chap. 7), including their partiality for trousers (chap. 12), sexuality and reproduction (chap. 8), drugs, dance and music (chap. 9), hunting technologies (chap. 11), weapons and warfare (chap. 13), all in relation to the archaeological and historical evidence of steppe women’s practices in these arenas. She even presses into service ethnolinguistics in order to argue that the names of the Amazons can be traced back to a common origin in the Eurasian steppes (chap. 14; cf. Appendix of Names of Amazons and Warrior Women in Ancient Literature and Art from the Mediterranean to China). In Part 3 (249–353), Mayor turns back to “Amazons in Greek and Roman Myth, Legend, and History.” Here she retells the most famous Amazon myths, of Hippolyte and Heracles [sic] (chap. 15), Antiope and Theseus (chap. 16), Penthesilea and Achilles (chap. 18), and the Athenian Amazonomachy (chaps. 17, 19); and classical accounts of their historical counterparts—the dalliance of Thalestris and Alexander the Great (chap. 20) and the love of Hypsicratea and Mithradates (chap. 21). Part 4 (358–429) abandons the Hellenocentric perspective of Part 3 to investigate the evidence for Amazonian women “Beyond the Greek World... (shrink)

Past research on bathroom graffiti has utilized disparate collection and analysis methodologies. Here, we seek to devise a rigorous, unified methodological framework for the collection and analysis of latrinalia. We begin by reviewing the disjointed methodological approaches and findings of previous research on bathroom graffiti in order to trace the limitations which prevent generalizability across datasets in comparable, meaningful ways. We also target some of the specific arguments and research questions presented in previous studies. Then, using study of (...) bathroom graffiti, we sketch a replicable, scalable methodological framework for studying bathroom graffiti in order to analyze the discourse of a large corpus of latrinalia collected from the bathrooms of George Mason University in Virginia. This article as a whole illustrates that until the field aligns collection and analysis methods – defining what constitutes discourse, collecting data from male and female bathrooms, and accounting for the number of buildings, restrooms, and stalls – the seminal questions of the field will never be adequately addressed. We conclude by discussing the limitations of our research design and pointing toward potential future directions in latrinalia research. (shrink)

This chapter contains sections titled: Mobile Art Gallery The State of Aesthetic Theory The Female Fleshy Canvas: Body Art from a Feminist Perspective Gadamer's Hermeneutics and Tattoos: Play, Festival, and Symbol Art Cannot Change the World, but it Can Influence Those Who Will.

This article suggests that a parallel exists between the practice of tattooing and the injection of heroin as both activities are represented in a body of literature here called `Junk Narratives'. These texts include William Burroughs' Junky, Irvine Welsh's Trainspotting, Jerry Stahl's Permanent Midnight and David Foster Wallace's Infinite Jest. In these books, act and meaning, as in life, are inseparable: tattoos can be interpreted, but that they are tattoos, that they have been indelibly inscribed into the flesh, is also (...) stressed. In these books tattoos are represented as, in addition to whatever specific interpretive significance can be attached to them, visible markers of the hatred junkies feel for their own bodies. It will be suggested throughout the article that the body in these texts is always a source of shame and horror. Tattoos in these books do not decorate a body, rather they visibly emphasize its pathetic corporeality: no flesh, no image. The central dynamic of these texts is toward the transcendence of the body by the injection of heroin, a use of the needle which mimics the practice of tattooing and stresses the subservient, inessential nature of the body. (shrink)

This chapter contains sections titled: Punctured History Cultural Meaning Individual Meaning Self‐Expression and Double Skin Inescapable Seriousness.

The question of whether females tend to act more ethically or risk-averse compared to males is an interesting ethical puzzle. Using a large sample of US firms over the 1992–2014 period, we investigate the effect that the gender of a chief executive officer has on earnings management using classification shifting. We find that the pre-Sarbanes–Oxley Act period was characterized by high levels of classification shifting by both female and male CEOs, but the magnitude of such practices is, surprisingly, significantly (...) higher in firms with female CEOs than in those with male CEOs. By contrast, our results suggest that following the passage of the punitive SOX Act, classification shifting by female CEOs declined significantly, whilst it remained pervasive in firms with male CEOs. This suggests that the observable differences in financial reporting behavior between male and female CEOs seem to be because female CEOs are more risk-averse, but not necessarily more ethically sensitive than their male counterparts are. The central tenets of our findings remain unchanged after several additional checks, including controlling for alternative earnings management techniques, corporate governance mechanisms, CEO and chief financial officer characteristics and propensity score-matching. (shrink)

Female Soul and Feminine Spirit. Philosophical Prolegomena to a New (Women) Culture in the Interwar Radio Lectures Alice Voinescu’s and Constantin Noica’s. The newly founded Romanian Radio (1927) invited since 1930 the most important personalities of the Romanian culture to speak in the frame of different radio conferences. Two of these personalities were the philosophers Alice Voinescu (1885-1961) and Constantin Noica (1909-1987). Although they represent two different philosophical orientations (Alice Voinescu as a post-metaphysical thinker and Constantin Noica as a (...) philosopher, who tries, like Heidegger in the German culture, to rebuild metaphysics), the two interwar Romanian thinkers meet each other in some philosophical topics. One of these is the critical manner, how they are thinking about the movement of the emancipation of women in the 20thcentury. Both of them agree that the female soul and the feminine spirit have not to lose their specific features in the tendency to become active in the frame of the public sphere. In their critical thinking, Alice Voinescu and Constantin Noica meet the philosophical ideas of German philosophers like Georg Simmel and Martin Heidegger. (shrink)

A brief overview of work on street art and graffiti.

Introduction. The problem of the “female issue in art” is one of the most pressing today. “Gender art” or “female art” is one of the trends in modern art exhibitions. Thanks to art feminism, today women artists can fully demonstrate their talent, which arouses great interest in their work from the world art community. The purpose of the article is to identify specific stylistic features characteristic of “female subjectivity” and feminist practices in the art of the second (...) half of the twentieth century. Methods: we used general scientific methods of analysis and synthesis, the phenomenological method, since we identify the existential intentions that underlie modern art. We also use the hermeneutic method as we uncover hidden meanings in the works of women artists. The scientific novelty lies in the fact that we identify and describe specific stylistic features characteristic of the work of women artists of the second half of the twentieth century, which has not been done before. Results. We conducted a philosophical and cultural analysis of the works of women artists: Berthe Morisot, Hannah Höch, Frida Kahlo, Alice Neel, Louise Bourgeois, Sarah Lucas, and identified common features characteristic of their work. We also conducted a philosophical and cultural analysis of art feminism as a phenomenon. Conclusions. Among the stylistic features that unite the work of women artists of the second half of the twentieth century, we have identified the following: appeal to purely female handicraft techniques (“fiber art”); the subject of art is the inner world of the artist’s own feelings and experiences; art is often considered as a kind of art therapy, a way to survive the traumas suffered; a female artist has more empathy for the model and her mental state than male artists; women artists are characterized by a rethinking of the attitude towards the body, an image of the body as unaestheticized, non-normative, unadorned, irony towards the body; for women artists, art often becomes a way to fight for their rights, gender and racial equality. (shrink)

We investigate whether female executives influence perceived employer attractiveness for female job seekers. Drawing on signaling theory, we argue that female members in top management may signal organizational justice and organizational support and may therefore enhance perceived employer attractiveness. Findings from a scenario experiment with 357 participants indicate that female job seekers are more attracted to an organization with a female executive holding a non-stereotypical office [such as Chief Financial Officer ] as compared to an (...) organization with an all-male top management. Results of a structural equation model show that perceived organizational justice mediates the positive effect of a female holding a non-stereotypical office on perceived employer attractiveness, but perceived organizational support does not. Our results challenge the widely held view that women in top management will generally help attract female job seekers; rather, they suggest that a single female executive holding a stereotypical female office even reduces perceived employer attractiveness. (shrink)

This essay begins to develop a philosophical interpretation of Elena Ferrante's L'amica geniale, a work of fiction that is known in English as The Neapolitan Novels. My ultimate aim is to explore the work's ambitious moral psychology, and particularly its subtle conceptualization of women's path to freedom. I begin by reconstructing some of the main ideas of Italian difference feminism as they are expressed in the texts of the Milan Women's Bookstore Collective—texts that are controversial milestones of Italian social theory, (...) yet are relatively unknown outside of Italy. I then show how these ideas provide a useful frame of reference for interpreters of Ferrante's novel. This discussion sets up a more extended analysis of the special status of Lila Cerullo, her strange condition of smarginatura, and the import of her puzzling earthquake speech. (shrink)

Across a wide variety of cultural settings, kin have been shown to play an important role in promoting women’s reproductive success. Patrilocal postmarital residence is a potential hindrance to maintaining these support networks, raising the question: how do women preserve and foster relationships with their natal kin when propinquity is disrupted? Using census and interview data from the Himba, a group of semi-nomadic African pastoralists, I first show that although women have reduced kin propinquity after marriage, more than half of (...) married women are visiting with their kin at a given time. Mobility recall data further show that married women travel more than unmarried women, and that women consistently return to stay with kin around the time of giving birth. Divorce and death of a spouse also trigger a return to living with kin, leading to a cumulative pattern of kin coresidence across the lifespan. These data suggest that patrilocality may be less of a constraint on female kin support than has been previously assumed. (shrink)

Street art and graffiti are on the rise and their problematic relationship with the law is becoming an increasingly pressing issue. This paper considers a series of high profile street art controversies involving famous street artists Banksy and Alice Pasquini as cases studies for illuminating such a relationship. First, by discussing the “Banksy’s Law” – a “law” protecting street artworks in the style of Banksy while condemning graffiti – and its perceived arbitrariness, I investigate what I call the (...) structural differences between aesthetic and legal judgments. While not denying some continuity in reasoning about the law and the arts, I argue that legal judgments possess a degree of formality that cannot be found in their aesthetic counterpart. Second, in expanding my discussion, I also maintain that aesthetic considerations should not function as overriding reasons in legal determinations. By being illegal, many street artworks and graffiti acquire subversive power. If deprived of the possibility of challenging the law because of their aesthetic value, these art forms would lose much of their political value. And, more generally, a world where artworks cannot challenge the law is a world where the arts are rather superficial forms of entertainment. (shrink)

This article explores the ways in which friendships between women may promote gender transformation. The study is based on 25 in-depth interviews with young women in Geneva disposed to gender transformation but not necessarily considering themselves to be ‘feminist’. The findings, based on a dispositional and contextual analysis, show that female friendships provide women with a place where they find respite from men, become aware of gender relations, take action to further their emancipation and receive support for changes made. (...) Furthermore, this research shows the way in which women are shaped by their friendships, but also how they shape them actively to model their emerging critical dispositions. It therefore indicates how women are active in modelling their dispositions within the dynamics of gender relations and other social forces. (shrink)

This paper examines whether bank capital ratios and default risk are associated with the gender of the bank’s Chief Executive Officer and Chairperson of the board. Given the documented gender-based differences in conservatism and risk tolerance, we postulate that female CEOs and board Chairs should assess risks more conservatively, and thereby hold higher levels of equity capital and reduce the likelihood of bank failure during periods of market stress. Using a large panel of U.S. commercial banks, we document that (...) banks with female CEOs hold more conservative levels of capital after controlling for the bank’s asset risk and other attributes. Furthermore, while neither CEO nor Chair gender is related to bank failure in general, we find strong evidence that smaller banks with female CEOs and board Chairs were less likely to fail during the financial crisis. Overall, our findings are consistent with the view that gender-based behavioral differences may affect corporate decisions. (shrink)

This article explores female religious interaction in racially divided ‘colonial’ South Africa through the lives of five unmarried Anglican women missionaries who worked in and around Johannesburg between 1907 and 1960. It particularly analyses the quality of their personal relationships with African women converts, colleagues and students. Deaconess Julia Gilpin, in the imperial, anglicizing post-Boer War years, encouraged devout, respectable wifehood on the mine compounds, contributing to the corporate solidarity of praying mothers as a deeply entrenched feature of most (...) black churches. Dora Earthy interacted in a warmer, more egalitarian way with black churchwomen. Her transfer to Mozambique led not only to evangelistic building on African cultural traditions and pioneering anthropological research but also to the protection and validation of Christian widows’ autonomy against coerced remarriage. Frances Chilton and Dorothy Maud, despite sharply contrasting class origins, struggled to connect with more assertive networks of married women in the segregationist 1920s and 1930s, devoting their energies rather to guiding and enhancing African girlhood and youth. Hannah Stanton, in the more politically fraught 1950s, recognized the necessary independence of African actors and the limitations of outdated white liberal advocacy. Her training of African women promised new theological and organizational maturity, a potential collegiality, cut short by her detention in the 1960 State of Emergency and subsequent expulsion. The historical sweep of this survey suggests which personal and political conjunctures opened up or closed down meaningful interaction between colonized and colonizing women. It also offers a more positive evaluation of the intersection of race and religion as not invariably a ‘fatal combination’. The politics of the personal in women's joint educational, mission and social welfare ventures across the racial divide helped keep alive the idea of a single society and thus aided the surprisingly peaceful transition to democracy in South Africa in 1994. (shrink)

Understanding female sexuality and mate choice is central to evolutionary scenarios of human social systems. Studies of female sexuality conducted by sex researchers in the United States since 1938 indicate that human females in general are concerned with their sexual well-being and are capable of sexual response parallel to that of males. Across cultures in general and in western societies in particular, females engage in extramarital affairs regularly, regardless of punishment by males or social disapproval. Families are usually (...) concerned with marriage arrangements only insofar as those arrangements are economically or politically advantageous, but females most often have a voice in arranged marriages. Extended families also concentrate on a couple’s future reproduction rather than on sexual exclusivity. Although marriage for females is often compromised by male or family reproductive interests (which may not in fact differ from female interests), females appear to exercise their sexuality with more freedom than has previously been suggested. Notions of human females as pawns in the male reproductive game, or as traders of sex for male services, should be dispelled. (shrink)

Cet article montre que le Livre du Chevalier errant de Thomas iii de Saluces (fin du xive siècle) est un miroir familial visant, à travers la combinaison du souvenir historique et de la fiction légendaire, à sublimer le souvenir des aïeux. Dans cette stratégie d’exaltation généalogique, le rôle des femmes est loin d’être négligeable. Deux cas remarquables d’héroïsme féminin sont analysés, ceux de Richarde de Saluces, la guerrière, et de Grisilidis, l’épouse vertueuse.

This chapter contains sections titled: The Belief in Jesus Christ, and Other Religious Beliefs and Disbeliefs Tattoos, Tea, and Testing Faith Unmoved Mover and Uncaused Cause Interaction of the Supernatural and the Natural The ‘Three Ms’ Meaning Morality.

El trabajo analiza la participación de la mujer en el proceso migratorio desde mediados del siglo XIX hasta los inicios del siglo XX mediante la colectividad alemana establecida en Valparaíso. Nos detenemos específicamente en la actividad social, el quehacer laboral y la vida familiar de la comunidad germana, con lo que podremos acceder a un ámbito poco conocido del accionar femenino en la empresa migratoria europea, en donde se desarrollan valores y costumbres que constituyen parte importante de la identidad alemana. (...) Se utilizan principalmente como fuentes diarios de vida y testamentos realizados por mujeres. The paper analyzes the participation of women in the migration process, since the mid-nineteenth century to the early twentieth century, through the established German community in Valparaiso. We stop specifically in social activity, professional work and family life of the German community, which we can access a little known field of women in the European migration, where they develop values and customs that are an important part of German identity. We mainly use as sources diaries and wills made??by women. (shrink)

Prior interpretations of the tattoos of nonhuman animals etched upon the preserved human bodies from the Pazyryk archaeological culture of Inner Asia have focused on solely human-generated meanings. This article utilizes an ethnoarchaeological approach to reassess these tattoos, by analogizing the nature and possibilities of human-ridden horse intersubjectivities in the present with those of the past. As enlightened by people who live with horses, including the author, the process of learning to ride can be seen as an interspecies apprenticeship process, (...) where both humans and horses pass along social knowledge as thoughtful actors with defined roles. From this perspective, the horse tattoos are presented as polysemic materializations of the bonds between particular Pazyryk horses and people, of blended identities, and of cosmological values related to time, memory, and belonging. The article concludes that exploring smaller-scale human-nonhuman animal interactions in the present allows for fresh interpretations of similar interactions in the past and provides a means for archaeology to move beyond the objectification of animals as sets of resources or symbols. (shrink)

This chapter contains sections titled: I Tattoo Myself, Therefore I Will Commit Murder The Mark of Cain Tatau: First Signifier Name Beyond Face Truth Itself, Unread Tattoo Devotion.

This study presents a sociological profile of Peruvian female industrialists and some narratives of their struggle for personal independence and entrepreneurial success within the context of global restructuring and local deindustrialization. The study adopts the classical definition of woman's economic independence as a result of women's participation in the world of paid labor.

Many critics view Irigaray's work as an extension or deconstruction of a Lacanian paradigm. Few actually analyse it as a direct challenge to Lacanian concepts of symbolic subjectivity, and the consequent, alternative framework this would envisage. This article discusses a poss ible beyond the phallus, in relation to mediating concepts of the female imaginary and symbolic within her work, and an understanding of the female imaginary and symbolic within different feminist interpretations of the maternal imaginary and symbolic, arguing (...) that the imaginary is crucial in delineating a non-separatist cultural sublimation of female desire. Feminist revisions of the Oedipal by Jessica Benjamin and Kaja Silverman are examined in relation to the question of a maternal imagin ary and symbolic. Irigaray objects to Silverman's privileging of a Lacan ian concept of symbolic castration because it cannot negotiate between the literal relation to the body, and the metaphors and language of our cultural symbolic. Her female imaginary and symbolic provide this mediating link in direct challenge to the overly literal penis of Freud's castration complex and the essentially metaphorical nature of Lacan's phallus. Her mediation is related to the work of diverse psychoanalytic thinkers such as Andrew Samuels, Cornelius Castoriadis and Anthony Elliott. Returning to a feminist reading by Margaret Whitford, this article finally negates a Lacanian understanding of these structures and goes on to explore Irigaray's creative bodily imaginary, within two of her papers on analytic practice. Elaboration of a bodily and creative imaginary within the clinical setting can represent necessary mediation between real and symbolic and between the psyche and culture: this HISTORY OF THE HUMAN SCIENCES Vol. 10 No. 2 @ 1997 SAGE Publications (London, Thousand Oaks and New Delhi) pp. 41-60 [0952-6951(199705)10:2] mediation is personified through the hysteric, not through the Oedipal Law of the Father, which is finally the key question in culturally locat ing female desire, thereby connecting the theory of psychoanalysis with practice and with history. (shrink)

The ‘byproduct account’ of female orgasm, a subject of renewed debate since Lloyd (The case of the female orgasm, Harvard University Press, Cambridge, 2005), is universally attributed to Symons (The evolution of human sexuality, Oxford University Press, Oxford, 1979). While this is correct to the extent that he linked it to the adaptive value of male orgasm, I argue that the attribution of the theory as we understand it to Symons is based on a serious and hitherto unrecognised (...) misinterpretation. Symons had a different explanation of why women can orgasm, and beneath this explanation lies an obscure line of argument, including a particularly obscure use of the word ‘homologous’. (shrink)

Michèle Roberts: Female Genius and the Theology of an English Novelist Since Simone de Beauvoir published The Second Sex in 1949, feminist analysis has tended to assume that the conditions of male normativity—reducing woman to the merely excluded "Other" of man—holds true in the experience of all women, not the least, women in the context of Christian praxis and theology. Beauvoir's powerful analysis—showing us how problematic it is to establish a position outside patriarchy's dominance of our conceptual fields—has helped (...) to explain the resilience of sexism and forms of male violence that continue to diminish and destroy women's lives because they cannot be seen as questionable. It has also, I would argue, had the unintended consequence of intensifying the sense of limitation, so that it becomes problematic to account for the work and lives of effective, innovative and responsible women in these contexts. In order to address this problematic issue, I use the life and work of novelist Michèle Roberts, as a case study in female genius within an interdisciplinary field, in order to acknowledge the conditions that have limited a singular woman's literary and theological aspirations but also to claim that she is able to give voice to something creative of her own.The key concept of female genius within this project draws on Julia Kristeva's notion of being a subject without implicitly excluding embodiment and female desire as in normative male theology, or in notions of genius derived from Romanticism. Roberts' work as a writer qualifies her as female genius in so far as it challenges aspects of traditional Christianity, bringing to birth new relationships between theological themes and scriptural narratives without excluding her singular female desires and pleasures as a writer. This paper—as part of a more inclusive, historical survey of the work of women writers crossing the disciplinary boundaries between literature and Christian theology over the last several centuries also asks whether, in order to do proper justice to the real and proven limitations imposed on countless women in these fields across global and historical contexts, we need, at the same time, to reduce the Christian tradition to something that is always antithetical or for which women can take absolutely no credit or bear no responsibility. (shrink)

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 46 Heft: 1 Seiten: 114-134.

(1) Mazur & Booth do not explain precontest rise in testosterone. Anticipatory T rise may result from fantasized dominance scenarios. (2) Mazur & Booth conclude that females do not experience the dominance–T rise effect. The data are insufficient for this judgment. (3) Mazur & Booth misstate my position on T and sexuality. I offer an emendation and correction.