For more than fifteen years, Melissa Ann Pinney has been making photographs of girls and women, from infancy to old age, to portray how feminine identity is constructed, taught, and communicated. Her work depicts not only the rites of American womanhood—a prom, a wedding, a baby shower, a tea party—but the informal passages of girlhood: combing a doll's hair, doing laundry with a mother, smoking a cigarette at a state fair. With each view, we gain a greater understanding of (...) the connections between mother and daughter, and by extension the larger world of family, friends, and society. Pinney's approach to interpreting girlhood became more complicated and complex when her daughter, Emma, was born eight years ago. Emma's childhood evoked in Pinney her own girlhood and gave her work new meaning and purpose. Ultimately, Regarding Emma shares with all of us the incremental and the ritualistic changes that take place in a woman's life over time. Her photographs are artistic and social documents that reveal the subtle and bold aspects of feminine identity—documents whose reach will extend well beyond the walls of America's leading galleries and museums into the hearts and homes of everyday Americans. "Melissa Ann Pinney is making powerful art. In matters of light, color, and composition she is flawless. But these are not simply constructions of elements. These photographs bear witness to the speed at which the little girl becomes the old woman, to the fleeting, breathless beauty of childhood, to life itself, which leaves us stunned in its wake."—Ann Patchett, from the Foreword "Melissa Ann Pinney provides a compelling portrait of American girls as they make their way from infancy to adulthood. Using her daughter's childhood as a point of departure, she traces the complex terrain of adolescence and budding femininity. The results are photographs marked by empathy and grace."—Sylvia Wolf, Sondra Gilman Curator of Photography, Whitney Museum of American Art, New York City "These photographs by Melissa Ann Pinney impart a sense of the special and sacred everyday rituals we take for granted. She appreciates at once the transient nature of what she finds and its gravity. Her pictures describe so well the wonder, and beauty, and centrality of the things we know best and the people we see often."—Sandra S. Phillips, Curator of Photography, San Francisco Museum of Modern Art "Melissa Ann Pinney's record of life with her daughter, Emma, adds a new and touching chapter to our knowledge of the lives of women and girls."—Adam Gopnik, author of Paris to the Moon and a staff writer for The New Yorker "Melissa Pinney's passionate, painstaking investigation of the stages of women's lives is impressive for its rigor and courage. Her themes aren't imposed on the pictures or on the women, men, and children who people them; instead, they arise from her attentive study of particularities— of the ways human lives are etched on the surfaces of faces and the positions of bodies in real spaces and places, mundane but radiant. When she turns from the lives of others to her own life, the shift is seamless but the volume swells, the emotions grow more pointed and the paradoxes more painful, joyous, and direct. This is remarkable work by an artist at the height of her powers."—Peter Bacon Hales, author of William Henry Jackson and the Transformation of the American Landscape. (shrink)

This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States, Third, by looking at her images of women, my intention was to reveal how she worked against depictions of (...) femininity during the Depression, and in confrontation with one-dimensional portrayals of women as America entered the Second World Wan In conclusion, I contend that Bubley's images were fundamentally portrayals of working-class femininity represented as being an individual – rather than a symbolic – experience. Most specifically in the images I have examined, Bubley deconstructs an ideological image of female working-class identity which was central to documentary photography in 1930s America. For example, unlike in photographs by Dorothea Lange, Bubley did not portray working-class women as metaphoric sites of passive endurance which would eventually lead to the rejuvenation of American nationalism. Rather, she showed working-class women to be potentially subversive in the ways they defined themselves against the legacy of 1930s photography and in opposition to the ideological impositions of wartime propaganda. As a result, Bubley's images of working-class women waiting in bars for lonely soldiers, or looking for a future beyond the confines of their boarding house existences while remaining outside the middle-class boundaries defined by capitalist consumerism, set out a pictorial foundation for working-class female identity which exists beyond the context in which the photographs were taken. Consequently, Bubley's work highlights individual self-identity, personal empowerment and self-conscious desire in working-class women which was – and still is – confined and repressed by economic disadvantage and systematic marginalization from an American society defined from a middle-class point of view. (shrink)

To celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ‘ordinary’ people could afford to own their portraits.Women in Hats explores the remarkable range in the world of millinery from outrageous Edwardian creations to the (...) inventive austerities of the Second World War.This book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips’ signature work, A Humument. (shrink)

In Pythagorean Women, classical scholar Sarah B. Pomeroy discusses the groundbreaking principles that Pythagoras established for family life in Archaic Greece, such as constituting a single standard of sexual conduct for women and men. Among the Pythagoreans, women played an important role and participated actively in the philosophical life. While Pythagoras encouraged women to be submissive to men, his reasoning was based on the desire to preserve harmony in the home. -/- Pythagorean Women provides English (...) translations of all the earliest extant examples of literary Greek prose by Neopythagorean women, shedding light on their attitudes about marriage, the home, music, and the cosmos. Pomeroy sets the Pythagorean and Neopythagorean women vividly in their historical, ecological, and intellectual contexts, illustrated with original photographs of sites and artifacts known to these women. (shrink)

_Edward Bibring Photographs the Psychoanalysts of His Time_ provides us with a unique pictorial window into a fascinating period of psychoanalytic history. It is the gift of Edward Bibring, a passionate photographer who, Rolleiflex in hand, chronicled international psychoanalytic congresses from 1932 to 1938. The period in question spans the ascendancy of Hitler, the great exodus of analysts to England and the U.S., and the Anschluss of 1938. A year after the Paris Congress, the last meeting photographed by Bibring, Europe (...) would be in flames. At Wiesbaden in 1932, we find an ever dignified Ernest Jones relaxing aboard a sight-seeing ship, and Helene Deutsch and Heinz Hartmann delightfully at ease at a coffee shop. At the Lucerne Congress of 1934, Anna Freud, Ludwig Jekels, Wilhelm Reich, Grete Bibring, Max Eitingon, and Franz Alexander happily converse outside a hotel. At Marienbad in 1936, there are smiling new faces: Annie Reich, Ernst Kris, Otto Fenichel, Edward Glover, and others. At Budapest in1937 the women – Anna Freud, Vilma Kovacs, Dorothy Burlingham, and Elisabeth Geleerd – speak animatedly among themselves. A demure Margaret Mahler and a chic Marianne Kris make their appearance. In 1938, we see a series of table shots, where analysts, now with suit jackets removed and even a few collars loosened, relax with their food, wine, and cigars. Bracketed by Sanford Gifford’s brief introduction and biographical sketches of all the captured parties, Bibring’s photographs, digitized and enlarged, retain just enough graininess to evoke a different era in the history of psychoanalysis. It is heartening to see the paragons of “classical psychoanalysis” as warmly human, their analytic reserve supplanted by relaxed affability. But it is sobering to remember that the high spirit engendered by Congresses – in Bibring’s time no less than our own – may overlay the gravest political developments and the deepest personal anxieties. (shrink)

Photographic representations of women living with or beyond breast cancer have gained prominence in recent decades. Postmillennial visual narratives are both documentary projects and dialogic sites of self-construction and reader-viewer witness. After a brief overview of 30 years of breast cancer photography, this essay analyzes a collaborative photo-documentary by Stephanie Byram and Charlee Brodsky, Knowing Stephanie , and a memorial photographic essay by Brodsky written ten years after Byram’s death, “Remembering Stephanie” . The ethics of representing women’s postsurgical (...) bodies and opportunities for reader-viewers to engage in “productive looking” are the focal issues under consideration. (shrink)

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the (...) invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. (shrink)

In 120 exquisitely reproduced black-and-white images, Minnesota in Our Time: A Photographic Portrait showcases the work of twelve talented photographers who sought to capture the essence of the state and its people at the threshold of the new millennium. Like the Farm Security Administration photographers of the Depression era, these men and women document the details of life in this time and the transformations now taking place in this state. This work is a product of the MINNESOTA (...) 2000 Photo Documentation Project, a three-year effort that has also produced an archival collection of 360 images and a museum exhibition. The project's wealth of images provides a multifaceted look at lives and landscapes in Minnesota, focusing on common experiences and themes among a diverse population of individuals. Edited by photography historian George Slade, the book features a selection of the photographs, a lucid interpretive essay by Slade and art historian Robert Silberman, a preface by exhibition curator Bonnie G. Wilson, and brief introductions to and commentaries about each photographer's work. Minnesota in Our Time features photographs by Joe Allen, Tom Arndt, Stephen Dahl, Chris Faust, George Byron Griffiths, Terry Gydesen, David Heberlein, Wing Young Huie, Mark Jensen, Peter Latner, David Parker, and Keri Pickett. (shrink)

Achieving accurate skin tones is one of the most challenging tasks in digital photography. Master this challenge with professional photographer Lee Varis as he covers a range of skin: women and men, young and old, various tones, in-studio and outdoors, tattoos, and more. His step-by-step tutorials and before-and-after illustrations demonstrate various techniques for topics such as digital-specific lighting challenges and what can and cannot be done in post-process. A free CD-ROM accompanies the book and contains sample image files to (...) use while following the tutorials, plus equipment recommendations and technical reference materials that enhance and reinforce the instruction. Order your copy of this practical guide today and get a complete start-to-finish approach to integrating everything from posing models to shooting and retouching candid scenes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being (...) a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. Jennifer C. Nash Black Lactation Aesthetics: Remaking the Natural in Lakisha Cohill’s Photographs In her 1992 essay “Selling Hot Pussy,” bell hooks recounts entering a “late night dessert place” with a group of colleagues who all began to laugh at a shelf of “gigantic chocolate breasts complete with nipples— huge edible tits.”1 For hooks, the chocolate Black (...) breasts are mammy imagery, a “displaced longing for a racist past when the bodies of black women were a commodity, available to anyone white who could pay the price.”2 For her white colleagues, the chocolate breasts are simply comical. Her colleagues’ response—their willingness to consume, laugh, and ignore racial, gendered, sexual violence—constitutes the racialized visual marketplace that hooks’s essay seeks to both describe and dismantle. The chocolate breasts become a rhetorical point of entry into hooks’s critical engagement with a visual marketplace where Black female bodies are delectable and disposable objects. hooks’s analysis has become part of a canon of Black feminist work exploring how Black breasts get taken up as signs of pathology, “excess flesh,” sexual deviance, hypersexuality, and alterity.3 From histories of the so-called Hottentot Venus and the preoccupation with her breasts, buttocks, and genitalia—including 1. bell hooks, “Selling Hot Pussy,” Black Looks: Race and Representation (Boston: South End Press, 1992), 61. 2. hooks, 61–62. 3. See Nicole R. Fleetwood, Troubling Vision: Performance, Visuality, and Blackness (Chicago: University of Chicago Press, 2010). Jennifer C. Nash 95 signature works by Zine Magubane, Janell Hobson, Samantha Pinto, and T. Denean Sharpley-Whiting4 —to scholarship on the construction of black women’s imagined corporeality as “social dead weight” by Sabrina Strings, Black feminists have given critical attention to the construction of Black breasts as the location of Black women’s imagined racial and sexual difference.5 If Black breasts have been culturally and scientifically constructed as deviant, excessive, pornographic, and desirous, they have largely been uncoupled from an identification with nutrition—from the capacity to sustain and feed babies—except their connection with wet nursing and their conscription into maternal labor for white children. In this imaginary, Black breasts provide nutrition only when recruited as white property, with their nurturance capacity oriented toward white health and futurity. We might understand the cultural inability to interpret Black breasts as nurturing Black life as part of what Andrea Freeman describes as the “unmothering” of Black women, the unseeing of Black maternity except to elevate it as a symbol of brokenness or pathology.6 But in recent years, as I argue in my forthcoming book Birthing Black Mothers, Black breasts have entered the US cultural imagination anew. Black breasts are increasingly viewed as in need of support through seemingly benign state interventions to encourage Black breastfeeding. Indeed, Black breasts are recruited by an array of actors who often find themselves strangely aligned to champion Black breastfeeding —including NGOs, public health campaigns, and reproductive justice efforts spearheaded by Black feminists—precisely because Black breastfeeding is thought to perform urgent political, emotional, and 4. See Zine Magubane, “Which Bodies Matter? Feminism, Poststructuralism, Race, and the Curious Theoretical Odyssey of the ‘Hottentot Venus,’” Gender & Society 15, no. 6 (2001): 816–834; Janell Hobson, Venus in the Dark: Blackness and Beauty in Popular Culture (New York: Routledge, 2005); Samantha Pinto, Infamous Bodies: Early Black Women’s Celebrity and the Afterlives of Rights (Durham, NC: Duke University Press, 2020); and T. Denean Sharpley-Whiting, Black Venus: Sexualized Savages, Primal Fears, and Primitive Narratives in French (Durham, NC: Duke University Press, 1999). 5. See Sabrina Strings, Fearing the Black Body: The Racial Origins of Fat Phobia (New York: NYU Press, 2019). 6. Andrea Freeman, “Unmothering Black Women: Formula Feeding as an Incident of Slavery,” Hastings Law Journal 69, no 1545 (2018): 1545–1606. 96 Jennifer C. Nash public health work. Black breastmilk is increasingly described as a crucial technology of Black life, one that supports Black infant life and inoculates it physically, psychically, and even spiritually against the array of anti-Black forces that wound and violate. The work that Black breast milk is thought to perform includes its posited... (shrink)

Monograph on the historical evolution of women's rights from 1902 to 1978 - describes various campaigns for achieving civil rights for women, rights for political participation, equal opportunities for the woman worker, etc., and considers the contributions made to the emancipation of women by the international alliance of women (interest group), the League of Nations, the UN (role of UN) and other international organizations, the international women's year, etc. ILO mentioned. Bibliography pp. 312 to 314, (...) chronology of major events and photographs. (shrink)

Illustrations include selections from Atget's signature views of Paris, Stieglitz's portrait of Georgia O'Keeffe, Weston's distinctive nudes, and Arbus's images of women.

For couples for whom assisted reproduction is the only way to have genetically related offspring, the donation of gametes by others makes available enhanced reproductive options. There has been an increasing demand for such services, as evidenced by the Web site launched by fashion photographer Ron Harris in the fall of 1999. Although the sale of such gametes is not new, this Web site does speak to a different set of priorities and values than has been witnessed in the context (...) of assisted reproduction: the selection of particular traits, in effect, the creation of designer babies. With the expanding demand for such services come expanded liabilities, which are the focus of this article. The author argues that this kind of commodification of gametes reinforces dubious social attitudes, leads to potential harms for the children created by this technology, and suggests a departure from traditional paradigms in medicine: a departure in an ill-advised direction. (shrink)

Within the arena of sport, as throughout society, traditional definitions of femininity and masculinity have established and maintained gender differentiation. The authors’research examines this pattern in intercollegiate athletics by analyzing National Collegiate Athletic Association media guide cover photographs. They find gender differentiation in the depiction of women and men athletes. For example, women athletes are less likely to be portrayed as active participants in sport and more likely to be portrayed in passive and traditionally feminine poses. These differences (...) changed little between 1990 and 1997. The findings suggest that while one might expect less gender stereotyping from the teams themselves, the gendered images produced by intercollegiate athletic programs vary little from those produced by the popular press. (shrink)

The emotion of disgust is suggested to be an adaptation that evolved to keep us away from sources of infection. Therefore, individuals from populations with greater pathogen stress should have a greater disgust sensitivity. However, current evidence for a positive relationship between disgust sensitivity and the intensity of infectious diseases in the environment is limited. We tested whether disgust and contamination sensitivity changed in response to the COVID-19 pandemic. Disgust was assessed in 984 women in 2017 and 633 (...) class='Hi'>women in 2020 by a set of photographs depicting sources of infection and Pathogen and Moral of Three-Domain Disgust Scale. Further, contamination sensitivity among participants in two waves was measured by Contamination Obsessions and Washing Compulsions Subscale of Padua Inventory. State anxiety was measured with the Polish adaptation of the State-Trait Anxiety Inventory only during the second wave of data collection. Women from the COVID-19 pandemic group assessed the photographs depicting sources of infection as more disgusting, scoring higher on Padua Inventory, but lower on Moral Disgust Domain as compared to women from before the pandemic. In addition, anxiety levels during pandemic positively correlated with scores from Pathogen Disgust Domain, Padua Inventory, and the ratings of the photographs. The participants of the study scored higher in state anxiety than the norms determined for the Polish population. Summarizing, we present evidence for differences in individual levels of disgust sensitivity in relation to pathogen stress, supporting the idea that disgust evolved to serve as protection from pathogens. (shrink)

‘Femininity’ is a concept formed by structures of class difference: to be ‘feminine’ is to fit into an idealised higher-class position. Working-class women, without the financial or cultural capital to successfully perform femininity, are regularly cast down into the realms of the grotesque. This ‘fall from grace’ has repercussions on the representation and lived experiences of women who are then defined negatively. Contemporary British media stories are full of demonising depictions of working-class women deemed grotesque for not (...) presenting themselves with sufficiently ‘classy’ femininity. This article provides a rereading of the images made by British photographer Richard Billingham of his mother Liz, against the grain of much classist and misogynistic critical writing. The author discusses what happens when women reject the aspiration to transcend their supposedly faulty working-class femininity, and instead of trying to ‘better themselves’ through class-passing choose to present aspects of a working-class identity that firmly situate them within an undesirable class position. By employing an auto-ethnographic approach, the author offers new receptions of such images that have often been dismissed and discussed derogatorily, by bringing to bear her own lived experience of being a woman from a working-class background to offer narratives rarely explored in academic texts. The author shows that by thinking through an alternative femininity, via an ‘Anti-Pygmalion’ aesthetic, we can reclaim the negative descriptions of working-class women as grotesque, and begin to question the constructions of femininity itself. (shrink)

Abstract The Me as a socially constructed self presenting itself, is the subject of new conceptual interest. Discourse analysis is the preferred tool for analysis of the linguistic repertoires that we use to order the experience of our selves. But we also present ourselves visually, with some care. An attempt is made to apply a kind of discourse analysis to self?portraits by eminent photographers. Within the process of portraiture and the rules of the pose, professionals should be able to (...) present their true visions of themselves. Specific dilemmas are likely. While women have been the site of many contradictions in themselves as a sight, men in their images must be prepared to bear the castrating power of ?the look?. It might even be that in some romantic sense, there is the revelation of an authentic, spontaneous self. A set of ten examplars is interpreted, ranging from 1901 to 1986. The photographic evidence for men clearly shows situational self?characteristics in terms of the role of the photographer in the period. Although the women included are comparable in status, using the non?verbal interpretative models of Goffman and Wex, they rather demonstrate signs of the conventional submissive feminine identity. Such an analysis of visual discourse cannot decide on the degree of awareness in the presentations. Further the interpretations are as open to rational contradiction as other forms of discourse analysis. (shrink)

Recent scholarship has identified the modern wedding as a principal site for the construction of heteronormativity. This article examines whether and how the participation of same-sex couples in the wedding ritual can challenge this construction. Photographs from the 2004 San Francisco same-sex weddings were quantitatively content-coded for subjects’ gender presentation and for the extent to which the couple embodied the heteronormative wedding standard of one bride and one groom. I find that all the men in these photographs conformed to gender (...) norms and thus no male couple conformed to the wedding standard. In contrast, approximately one-fifth of the women presented non-normative gender, and more than two-thirds of the formally dressed lesbian couples conformed to the wedding standard of a bride and a groom. In a close reading of four photographs, I argue that these images have the potential to challenge assumptions about normative sex, gender, and sexuality at the level of the symbolic when understood in relation to the institution of marriage. Nonetheless, the enactment of weddings depicted in these images may also reify weddings as heteronormative by conforming to expectations about how individuals and couples present themselves when marrying. These findings point to the importance of distinguishing symbolic and enacted heteronormativity. (shrink)

My interest in undertaking the study of images of Arab women in Western visual ethnography and art emerged from my own life experience. My identity as an Arab feminist having lived in different Eastern and Western communities has shaped my understanding and affected my observation in this research. As an Arab woman being observed in the first place, I am taking the role of the "outside"/inside' observer in this study. I am observing the observers and the observed, and both (...) become the observed in my chosen study. I observe visual images of Arab women under the gaze of Western observers. Ethnographers, photographers, and artists become the observed under my investigation. Here again, visual images of Arab women are observed—in fact they only have been observed as objects, a result of their display as visual images by Western observers. Contemporary North African women, Assia Djebar, Houria Niati, and Leila Sebbar are observers who examine visual images of North African women that were painted by Western artists. In examining their works here, they in turn become the observed. Also I observe Elizabeth Fernea's visual ethnographic work on North African women. Fernea and her project become the observed in my research. Finally, I undertook the role of the observer in this study mainly in order to understand myself and identify my place in the society of other women and men. I introduce a cross‐cultural dialogue that will question the bipolar cultural boundaries in feminist and historiographic scholarship. (shrink)

Firms face mounting pressure to appoint ethical leaders who will avoid unnecessary risk, scandal and crisis. Alongside mounting evidence that narcissistic leaders place organizations at risk, there is a growing consensus that women are more ethical, transparent and risk-averse than men. We seek to interrogate these claims by analyzing whether narcissism is as prevalent among women CEOs as it is among men CEOs. We further analyze whether narcissistic women CEOs take the same types of risk as narcissistic (...) men CEOs. Drawing on social role and token theories, we test hypotheses related to gender differences in the prevalence and impact of CEO narcissism on firm-level practices. Using a unique dataset that includes a large sample of CEOs of S&P 1500 companies from 1992 through 2014, we create a narcissism composite score for each CEO based on their photograph size in the annual report, and their cash earnings and non-cash earnings relative to the next highest paid executive. We find that women CEOs are less likely to exhibit narcissistic personality traits compared to men CEOs. Furthermore, we find that gender moderates the relationship between narcissistic CEOs and our outcome variables of risk-taking and questionable behaviors. (shrink)

The proverb ‘women hold up half the sky’ was created by the Maoist government 64 years ago in order to show that women in ‘New China’ have equal power and rights to their male peers. I selected three photographs for my FLaK zine and called them ‘unwanted girls’, ‘battered wives’ and ‘inglorious women’. To examine the relevance of the proverb in Modern China, I will discuss three women-related problems behind these photographs and analyse their cultural and (...) legal causes. By doing so, I aim to achieve two purposes—first, to help the reader have a better understanding of the problems of women in the region where one-fifth of the global population lives, and second, to argue that seemingly gender neutral law and policy can produce new and greater restrictions on women’s freedom. (shrink)

Initially commissioned to record the progress of Pittsburgh’s Renaissance I, these unforgettable black-and-white photographs of Roy Stryker's Pittsburgh Photographic Library capture the city in a state of flux. They reveal a union of opposites—the suited wonderment of the downtown businessman with the easy grace and competence of a shirtless construction worker balanced high over his head; the anonymity and isolation of planned housing with the belief in expansion and renewal; the energy and excitement of a city on the move with (...) the traditions of the established elite; the juxtaposition between the growing optimism about the ability of technology to improve our lives; and the traditional steel and other heavy smokestack industries that still dominated the region. The Renaissance was seen as a way for Pittsburgh to keep abreast of modern urban life and to preserve its economic position, but the rapid development of a white suburban middle class was sapping the very essence of the personalized downtown neighborhoods. These photographers have captured the convergence of destruction and rejuvenation that is the essence of an urban renaissance—all the anxiety and hope of the decade is reflected in these poignant photographs. Constance Schulz's fascinating essay on the story of the PPL, in order to present a full picture of the political and civic goals, achievements, and failings of the project, provides a thorough discussion of the background of the Pittsburgh Photographic Library, putting into perspective the Allegheny Conference's purpose for initiating the PPL, Roy Stryker's own vision and work, as well as those of the photographers who worked for Stryker on the project, and the politics that undermined the full implementation of it. Clark M. Thomas's accompanying narrative offers an eclectic range of facts and fascinating bits of the city's history and neighborhood lore, as well as noting important political and economic episodes. It also provides a glimpse into the often underrepresented lives of minorities and women in the region's development. Anyone moved by the incredible social upheaval and expansion that occurred in cities across the nation in the 1950s following years of depression and war will want to have this collection. (shrink)

This paper focuses on representations by and deployments of the four Palestinian women who during the first four months of 2002 killed themselves in organized attacks against Israeli military personnel or civilians in the Occupied Palestinian Territories or Israel. The paper addresses the manner in which these militant women produced and situated themselves as gendered-political subjects, and argues that their self-representations and acts were deployed by individuals and groups in the region to reflect and articulate other gendered–political subjectivities (...) that at times undermined or rearticulated patriarchal religio-nationalist understandings of gender and women in relation to corporeality, authenticity, and community. The data analysed include photographs, narrative representations in television and newspaper media, the messages the women left behind, and secondary sources. (shrink)

The face of a child in need is a visual trope that is at the forefront of the politics of spectacle in emergency news and aid initiatives. Images of children’s faces work on both affective and ethical levels, appealing to compassion and to a discourse of universal human rights. Acknowledging both the cultural fascination with and distrust of images of children, this article focuses on the strategies of persuasion used by an international NGO Save the Children in their child sponsoring (...) campaign. Identifying the ways that both NGO guidelines and strategies shape the way the image is composed and framed, and engaging with the concepts of ‘sponsoring,’ ‘saving,’ and ‘parenting,’ the article follows how the campaign configures financial help as an affective, rather than economic, relationship between the donor and the beneficiary. (shrink)

What happens when we unexpectedly see an attractive potential partner? Previous studies in laboratory settings suggest that the visualization of attractive and unattractive photographs influences the perception of time. The major aim of this research is to study time perception and attraction in a realistic social scenario, by investigating if changes in subjective time measured during a speed dating are associated with attraction. The duration of the dates was variable and participants had to estimate the time that passed. Among other (...) measures, participants also rated the potential partners in terms of their physical attractiveness before and after the dates and reported if they would like to exchange contact with them. Results showed that, in a real speed dating situation, when there is a perception of the partner as being physically more attractive, women tend to overestimate the duration of that meeting, whereas men tend to underestimate its duration. Such changes may reflect evolutionary adaptations which make the human cognitive system more responsive in situations related to reproductive fitness. (shrink)

The socio-historical events and libertarian cultural movements of the 1960s and 1970s shaped the Catholic mother-daughter relationship for the women in this feminist genealogical study. This study is based on interviews with 36 Anglo-Australian Catholic women – 13 sets of mothers and daughters – as well as dialogue between my mother and myself about family photographs. Women’s stories of secondary school days tell of the formation of lady-like identities circumscribed through uniform regulations, the cult of the Virgin (...) Mary and ceremonies of everyday Catholic school life. The abject maternal body resurfaces in adolescence with the flow of menstrual blood, and the heralding sexuality of young women is circumscribed through patriarchal institutions such as Catholicism. Amid their silenced and contested dialogue, although years apart, the stories between mothers and daughters in this study drew parallels. (shrink)

Objective: Body dissatisfaction is a major risk factor underlying vulnerability to eating disorders. Laboratory settings suggest that body dissatisfaction could be improved by using evaluative conditioning (EC). The present study evaluates the feasibility of using an EC app in everyday life and the effects of its use on body dissatisfaction. Method: We designed a game-like app inspired by the Therapeutic Evaluative Conditioning app. 60 participants were randomly assigned to two conditions. Participants in the EC condition had to pair photographs of (...) their own body with positive photographs, while participants in the neutral condition had to pair photographs of their own body with neutral photographs. We tested the effect of use of the app on body dissatisfaction, drive for thinness, self-esteem, mood and eating behaviors. Results: Analysis revealed that participants in all conditions presented a significant decrease in body dissatisfaction and drive for thinness. However, contrary to our hypothesis, these reductions were not greater in the EC condition than in the neutral condition. Conclusions: This is the first study to evaluate the effects of an app-based EC intervention targeting body image. Results appear to be promising and the app could easily be implemented in an ecological setting as it is a low effort, attractive and accessible intervention. However, these findings do not support the idea that evaluative conditioning is responsible for the effects. Results are discussed. (shrink)

The forty-five women who created these works-artists and writers such as Deborah Willis, Carrie Mae Weems, Nan Goldin, and Carm Little Turtle-are connected by a belief that images are political and that today's feminist concerns cannot be ...

As narrativas sobre mulheres, mesmo dentro dos estudos feministas, podem ser entendidas como normativas e colonizadoras, especialmente quando se dão a partir de um olhar ocidental sobre as mulheres do terceiro mundo. A partir da análise do pensamento da autora indiana Chandra Talpade Mohanty, este artigo busca relacionar seu discurso com exemplos de mulheres fotógrafas que buscaram desconstruir essa estrutura hierárquica do olhar, como Claudia Andujar, Graciela Iturbide, Nair Benedicto e Susan Meiselas, além das reflexões da artista interdisciplinar Grada Kilomba, (...) em diálogo com outros autores do campo da imagem. A fotografia pode ser considerada, assim, uma ferramenta de escrita de novas narrativas de resistência.Palavras-chave: Feminismo. Fotografia. Mulheres fotógrafas. AbstractNarratives about women, even within feminist studies, can be understood as normative and colonizing, especially when they are done from a western perspective on third world women. Based on the analysis of the thought of Indian author Chandra Talpade Mohanty, this article seeks to relate her discourse to examples of female photographers who sought to deconstruct this hierarchical structure of the gaze, such as Claudia Andujar, Graciela Iturbide, Nair Benedicto and Susan Meiselas, in addition to the reflections of the interdisciplinary artist Grada Kilomba, in dialogue with other authors in the field of image. Photography can thus be considered a tool for writing new narratives of resistance.Keywords: Feminism. Photography. Women photographers. (shrink)

The photographs that circulated on social media depicting the atrocious acts committed by the Turkish military forces in southeast Turkey are indicative of an aesthetic construction of militarized masculinity that serves as a metonym for the nation‐state. As violence is aestheticized in a gendered fashion in these depictions, the Kurdish resistance movement is shamed as feminine. Gendered shaming, in this context, conjoins racialization and gendering as subjugating mechanisms of the state. Women's peace movements seek to disrupt this heteropatriarchal logic (...) of the state by countering the tripartite alignment of masculinity‐power‐domination with politicized art. In refusing the shame attributed to femininity, the shame that the state desires the Kurdish body to signify, they transfigure shame into honor and resistance. (shrink)

“Look Great Naked!” “Sexy Legs Now!” “Score a Perfect 10 Body!” These invitations appear regularly on the covers of glossy fitness magazines, always beside a photograph of a too-perfect-not-to-be-airbrushed, generally scantily clad, young woman. Are they really invitations or are they imperatives? What should we make of the apparently presumed connection between fitness and sex? These are the questions that drive this article, in which we distinguish between fitness and sport and provide a feminist account of fitness to set the (...) stage for analysis of the conflict between norms of femininity and heteronormativity in sport and in the fitness industry. We examine the medicalization of fitness to show that women’s... (shrink)

Presents an exhibition of photographs of the Zapotec Indian women of Juchitâan, Mexico, taken between 1979 and 1988 by Graciela Iturbide, and discusses the women's distinctive culture--a national symbol--and the photographer's artistry.

These starkly beautiful photographs document the daily life and labor of blue-collar workers in modern America. From a foundry in which the very fires of hell seem to blast to an air-conditioned computer control room in which the workers appear casual and comfortable, David Parker's lens captures what Peter Rachleff calls "a performance, a ritual, an exercise centuries ol""-men and women at work on factory floors. These photographs, taken in twenty plants in all parts of Minnesota, explore the common (...) bonds of industrial labor. Whether it's the Ford plant in St. Paul, the Potlatch paper mill in Cloquet, or the Toro engine manufacturer in Windom, Parker seeks to honor "the collective genius of the American worker." Excerpts from interviews with the workers reveal their opinions on such diverse topics as health care and child care, union activity, immigrant labor, and the effects of globalization. Their words and these photographs document industrial laborers and the factories in which they work, revealing how workers interact with each other and their environment and how the culture of labor is reflected in the jobs women and men do. An appendix provides a history and description of each workplace, detailing the magnitude of production and the constant ingenuity required to manufacture even the most common products. This book is a tribute to the women and men who process the foods we eat, manufacture the cars we drive, and produce the goods that make our lives comfortable. (shrink)

In 1898 men and women from all over the world converged on Alaska. Gold had been discovered. In the Yukon Territory, all winter long eager gold seekers struggled over the mountain passes connecting Canada with the United States. A small group of photographers chronicled this epic, creating images of men and women laboring through blinding snowstorms over the windswept, ice-covered mountains. One of that group was a young Swedish immigrant by the name of P. E. Larson. Frozen (...) in Silver documents how this man used the recent medium of photography to earn a living as a merchant and tradesman. From the relative tranquility of a Minnesota photographic studio, he moved westward. And, like thousands of others, he made his way to the Klondike Gold Rush, although with camera in hand. In addition to preserving the rich photographic record of the Great Stampede to the Klondike, Larson recorded contemporary Western life and culture, including that of the hard rock mining community of Goldfield, Nevada. Frozen in Silver is a riveting story of one man's trek through a time and place that have been captured on film and now in print. (shrink)

"Orientalism" is a term made prominent by critic Edward Said in his 1978 book of that title. . . . Said specifically used the term to designate a field of self-constituted experts who proposed to explain the Orient to the West. . . . This essay explores the visual artwork of Soody Sharifi who left Iran before the Islamic Revolution of 1979, but returns to photograph women and girls. After a trip back to Iran in 1999, she began a (...) self-portrait series exploring how she felt about being a Muslim woman in a hijab for the first time. (shrink)

This novel's plot, if one may speak of a plot, appears to have been hatched, if one may speak of something not an egg being hatched, at Oxford. The plotters, who have unlikely names even for plotters, met in Wellington Square, a place I know well. I once drank whiskey in the afternoon there with Jane Minto, as likely a character as any in a city that breeds characters (as any follower of Inspector Morse will know). The plotters, however, drank (...) tea, from a tin teapot, while wearing wellingtons. Making something up is, in general, not that hard; making something up about Kurt Schwitters is, because his life itself was so abundant a collage. I once met a woman in front of one of his portraits: “That's me,” she said, “but I never liked it; nor did my husband; we put it under the bed.” She could have appeared in this novel but does not. Plenty of others do—relations and friends of the inventor of Merz.Merz was a fragment, a piece of Humpty Dumpty who fell off the wall in 1914 and could not be put together again. Not for want of trying by the likes of El Lissitzky, Vladimir Tatlin, Ivan Puni, and Schwitters, especially the last, collecting the Dumpty pieces into a Merzbau that was no more than an assemblage—not a Gesamtkunstwerk and not a cathedral, but what in England was once called a PreFab, a hopeful gesture in an age of helplessness. Schwitters was a collector of the discarded, of the disregarded, of the unregarded, and out of the debris he made beauty. He made poetry (if poetry it may be called) out of sounds, noises sounding in the ear like those made by the guns that had daily blown men, women, and horses to pieces.Clearly, Draesner, the author of this novel, has been totally beSchwittered. I myself became so at Oxford in 1959 and have never wavered in my beSchwitterment, albeit adding over the years beBeuysment, beFluxusment, and beKieferment to my inventory. Thus beSchwittered, I have been a pilgrim to Cylinders, though not finding it; to the grave at Ambleside, with no body in it; to Wordsworth's cottage, where I left my book of Kurt's poems; and to Hannover, to be photographed on Schwitters Square. Kurt's Hannover might have been Hanover (with a single n) had not Bismarck stolen it; Bomber Harris might, in that case, have thought twice about bombing it; and we might not have been asking of this Scheinkünstlerroman how German is it, but instead telling ourselves just how English it is. (shrink)

In Three Guineas, first published in June, 1938 Virginia Woolf set about answering three questions. How should war be prevented? Why does the government not support education for women? Why are women prevented from engaging in professional work? Many at the time saw the matter of how best to prevent war as entirely unconnected with “women’s issues”; Woolf linked together the answers, and connected them too with discussions of such matters as social class, in what has come (...) to be acknowledged as a landmark both of feminist and of anti-war writing. Included in the first and other early editions—and integral to the work—was a series of five photographs of men of high position wearing garments that mark their status . Unlike most editions available today, this facsimile edition includes the illustrations as well as the text of the original. (shrink)

Prior studies have reported that women outperform men in nonverbal communication, including the recognition of emotions through static facial expressions. In this experimental study, we investigated sex differences in the estimation of states of happiness, anger, fear, and disgust through static photographs using a two-culture approach. This study was conducted among the Tuvans and Mongolian people from Southern Siberia. The respondents were presented with a set of photographs of men and women of European and Tuvan origin and were (...) asked to interpret each of them. They were asked: “What does the person in the photo feel?” We found that the Tuvans easily identified happiness and anger; however, the level of accuracy of fear and disgust recognition was low. No sex differences in the recognition of happiness, disgust, and fear were observed. However, anger recognition was significantly moderated by the perceiver’s sex and the origin of the model. Compared to Tuvan men, Tuvan women were significantly less accurate in identifying anger in male Tuvans. Furthermore, the age effect was found in recognition of fear: older Tuvans were more accurate while recognizing the fearful faces of Tuvan, but not the European models. (shrink)

To celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ‘ordinary’ people could afford to own their portraits.Bicycles documents the great age of the safety bicycle which was the instrument of emancipation for women and (...) freedom for men. Also we see competitive racers and pedalling toddlers.Each book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips’ signature work, A Humument. (shrink)

Washday at the Pā is the title of an old schoolbook, a picture reading book for younger schoolchildren, which was produced in 1964 by the state education system in Aotearoa-New Zealand in 1964, written and photographed by Ans Westra, who later became one of the most famous photographers in the country. Washday at the Pā provoked a national debate when the Minister of Education acceded to protests by the Māori Womens Welfare League against its use in classrooms by withdrawing (...) it completely, and the story of this controversy has remained alive in national consciousness ever since. This research brings Māori feminist philosophy to the Washday debate: I take up Mana Wahine theory as a useful lens on the controversy, understood as an event about, with and for women, in the history of Māori education. The purpose of this article is to reread, using Mana Wahine theory, existing arguments about the book’s withdrawal, and to propose an or... (shrink)

In June 1931, on the eve of the invasion of Manchuria, the Japanese mass media announced the winner of the first Miss Nippon contest. Applicants were limited to rank amateurs whose photographs, and not bodies, were judged by a panel of mostly elderly men who regarded the contest as `culture work'. A second contest was held in 1934. One of the main objectives of the Miss Nippon contests was to locate and record photographically, young women whose allegedly `pure blood' (...) and ideal bodily proportions demonstrated the success of eugenics and social hygiene programs launched decades earlier. Japan's imperialist aggression in Asia and the Pacific forms the backdrop to this study on the centrality of popular cultural events and media in the state's attempt to improve the `Japanese race' through technologies of eugenics and social hygiene. The article explores the politics of blood, body and beauty, three interrelated subjects, framed by the Miss Nippon contests, that were common to the colonial project and the discourse of eugenics alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:666 Feminist Studies 44, no. 3. © 2018 by Feminist Studies, Inc. Lana Dee Povitz To See and Be Seen: In Conversation with JEB August 12, 2017; a hot, bright morning. Ariel and I disembark at the train station in Takoma, DC, and head toward the waiting car. In the driver’s seat is one of the most important photographers of lesbian lives in the United States, Joan E. (...) Biren, popularly known as JEB. Decades before social media made images of nearly anything accessible to nearly anyone with a web connection, JEB published Eye to Eye: Portraits of Lesbians in 1979—in her words, “The first lesbian [photography] book that was going to say LESBIAN on the cover and have real people with real faces and first names on the inside.”1 A videographer later in her career, JEB made her mark traveling around the country in the late 1970s and early 1980s with her Dyke Show.2 Formally titled Lesbian Images in Photograph : 1850–the present, this constantly evolving visual and audio performance featured between three hundred and four hundred slides of lesbians or lesbian-like women from 1850 to the present.3 At the crest 1. Joan E. Biren, phone interview with Ariel Goldberg, October 10, 2017. Transcript in author’s possession. 2. JEB toured with the Dyke Show in the United States and Canada from 1979 to 1985. See Sophie Hackett, “Queer Looking,” Aperture 218 (Spring 2015): 40–45. 3. Ibid. On “lesbian-like” women and finding lesbians throughout history before the consolidation of the identity category, see Judith M. Bennett, “‘Lesbian-Like’ and the Social History of Lesbianisms,” Journal of the History of Sexuality 9, nos. 1–2 (January–April 2000): 1–24; David M. Halperin, “The First Homosexuality?” in his How to Do the History of Homosexuality Lana Dee Povitz 667 of the women’s liberation movement, audiences crowded together wherever they could to see the show—in living rooms, garages, church basements, community centers, and feminist bookstores—sitting rapt on the ground or on folding chairs. For many in these all-women spaces, JEB’s slides were the first images of women like them they’d ever seen. It’s Ariel who has arranged today’s interview, doing research for the book they’re writing about the influence of the twentieth century’s LGBTQ photographers on contemporary mainstream image culture. Ariel Goldberg is a photographer and poet who crisscrosses New York City working as an adjunct on different college campuses. The more they tell me about JEB in the weeks leading up to this meeting, the more I sense something genealogical afoot. Each representing the white, Jewish, middle -class,antiracist-lesbian-grassroots activism of their respective eras, both JEB and Ariel are self-taught, collaborative, and accountable to their circles of activist/artist friends. They pursue projects with or without (usually without) institutional support and brim with interests that hover between marginal and hot. As for me, I’m a historian, tagging along for the ride. I know little about photography, its practitioners, or its technologies, but I’m dipping into a new research project about the impact of social-movement participation on activist lives. And, aware of JEB’s role as a documentarian of (Chicago: The University of Chicago Press, 2002): 48–80; Leila Rupp, Sapphistries : A Global History of Love Between Women (New York: New York University Press, 2011); Valerie Traub, Thinking Sex with the Early Moderns (Philadelphia : University of Pennsylvania Press, 2016). See also Cait McKinney, “‘Finding the Lines to My People’: Media History of Queer Bibliographic Encounter,” GLQ: Journal of Gay and Lesbian Studies 24, no. 1 (January 2018): 55–83. For a discussion of queer desire for belonging based in literature, see Christopher Nealon, Foundlings: Lesbian and Gay Historical Emotion Before Stonewall (Durham: Duke University Press, 2001).  Ariel Goldberg, by Lana Dee Povitz. 668 Lana Dee Povitz social justice movements, including women’s and gay liberation, as well as her theoretical contributions to the early lesbian-separatist collective known as the Furies Collective, I am curious what this veteran activist life looks like now. Ariel and I speculated about JEB on the ride down from New York. We know she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and (...) Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time. (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 689 Susannah Bartlow White Fear in Universities: The Story of an Assata Shakur Mural No one is going to give you the education you need to overthrow them. No one will teach you your true history, teach you your true heroes if they know that knowledge will set you free. Theory without practice is just as incomplete as (...) practice without theory. The two have to go together. —Assata Shakur, quoted on a mural at Marquette University What does it mean to whitewash? To terminate? I have been tasting and retasting these words on my tongue after a mural of Assata Shakur at Marquette University was whitewashed, and I was fired—terminated —for having supported the mural, ending a fourteen-year career in feminist academia. As the founding director of the Gender and Sexuality Resource Center (GSRC), my job was to build an academic support office for women’s, gender, and LGBTQ+ education and empowerment. In the center’s third year, Amanda Smith (a Marquette senior) and Jeanette Martín (a community artist and program assistant at the center) envisioned, planned, and executed the Assata Shakur mural project as a way to invite greater community interest. In my role as director of the center, I supported the project, communicated it to senior leaders, and spread the word about the community-painting day in late March 2015. The mural was on display for six weeks at the GSRC before a storm of  Students fill in detail of the Assata Shakur mural at Marquette University’s Gender and Sexuality Resource Center. Photograph by Amanda T. Smith. News and Views 691 media coverage in mid-May prompted the university to cover the mural in white paint and fire me for my support of the project. My experience of this process was as rapid as it sounds: I received a few phone calls alerting me that the whitewashing of the mural was imminent and that there was a formal review of my leadership decisions, and I was fired twenty-four hours later. The idiomatic usage of “whitewash” tells us that something is shameful and that it has been, or ought to be, covered up. Whose cover-up was it—and whose shame? Over the six weeks it was on display at the center, the mural invited people into a quiet space off a hallway, and it had sparked discussion among staff, faculty, and students who used the space. The mural was one of very few images of a black woman anywhere on Marquette’s campus, and it contributed to a sense among many students of color that the GSRC was a space in which they were welcomed and safe and where they could be comfortable. Yet in the distortions of white supremacy, the mural looked like a threat, rather than an intellectual and community representation central to the university itself. Other recent cases of faculty repression, from Steven Salaita to Saida Grundy and Zandria Robinson, demonstrate how concerns about liability, finances, and public perception guide administrators ’ decisions about representation on campuses. Far from being liberal utopias, or even spaces that respect speech, universities remain testing grounds when students’ or educators’ actions present direct antiracist critique. What more clear or direct example of antiracist critique than the quotes we chose for the mural: Assata Shakur’s own words asserting the importance of street smarts and intellectual prowess, naming the power invested in knowledge systems and the importance of claiming that power for ourselves? Universities are, in our time, particularly responsive to pressure from the right. Private, nonprofit, advocacy organizations troll university websites looking for evidence of liberal bias; conservative media outlets publish student bloggers who feed the fantasy that the facts of United States history, presented without whitewashing, do not belong in classrooms. In particular, those who study the lives and knowledges of historically marginalized populations are in the crosshairs of right-wing attacks. In the case of the mural—and in each of the other cases cited above— it was either a right-wing news source or a powerful donor or decision 692 News and Views maker who raised concerns about leftist bias, civility, or... (shrink)

Life history data, attractiveness ratings of male photographs, and attitudes towards partnership and child-rearing of 321 women were used to test four evolutionary models (quantitative reproductive strategy, male short-age, polygyny indication, and maternal reproductive interests) which attempt to explain the influence of family composition on reproductive strategies. Links between early menarche and other markers of reproductive strategy were investigated. Childhood stress and absence of a father figure, whether genetically related or not, were found to have accelerated menarche whereas having (...) younger siblings decelerated it. Early menarche was associated with attractiveness ratings, the number of partners desired for the immediate future, and the early onset of intimate relationships. It was not linked with sociosexual orientation, mate choice criteria, and investment in the subjects’ own children, but these three markers were interrelated. The implications of the findings for the four evolutionary models are discussed. (shrink)