Calling for change: A feminist approach to women in art, politics, philosophy and education

2018 ◽  
Vol 51 (7) ◽  
pp. 731-743
Author(s):  
Elizabeth Mary Grierson
Keyword(s):  
2016 ◽  
Vol 46 ◽  
pp. 79-96

In the West, recent years have witnessed a big increase in accepting sexual fluidity, as manifested in the growing visibility of the LGBT community. It was different in antiquity, where a binary culture of masculinity and femininity prevailed, although reality will have been more diverse. Ancient historians and literary scholars have worked on concepts of masculinity in antiquity, but more recent studies of Greek religion have mainly analysed positions and representations of women, in so far as they have focused on gender differences at all. I will therefore first look at some elements of the female life cycle and daily life (§1), then consider representations of women in art and myth, and goddesses as possible role models (§2), and conclude with a discussion of the most important women's festivals (§3). At all times, we should keep in mind, however, that the real life of women probably differed significantly from male ideologies of their worth and proper place. This means that, although I focus on female gendered roles, male gendered roles will play a role too, even if more indirectly than directly in this chapter.


1981 ◽  
Vol 4 (1) ◽  
pp. 65-65
Author(s):  
I. Colquhoun
Keyword(s):  

2019 ◽  
Vol 12 (2) ◽  
pp. 213-233 ◽  
Author(s):  
Inaash Islam

Orientalist discourses have largely shaped how Muslim women have come to be represented in western visual media as oppressed, subjugated or foreign. However, with the advent of social media platforms, Muslim women are utilizing social media spaces to rearticulate the controlling images promulgated through orientalist narratives. This article examines the complex relationship visual media shares with Muslim women and demonstrates that the lens of orientalism continues to structure the imaginaries that shape visual representations of Muslim women in art, news and film. This article addresses how visual platforms and social media spaces such as YouTube are being utilized by Muslim women to undertake digital activism that seeks to subvert essentialist narratives. At the centre of this discussion is YouTuber Dina Tokio’s (2017) documentary, titled ‘#YourAverageMuslim’, which tackles western preconceived notions, and instead offers a redefined version of the ‘Muslim woman’ predicated on resisting three narratives: (1) Muslim-Woman-As-Oppressed, (2) Muslim-Woman-As-Subjugated and (3) Muslim-Woman-As-Foreign-Other. This documentary clearly demonstrates how Muslim women are using social media platforms in specific ways to shape the discourses around Muslim women. In doing so they are demonstrating their agentic capabilities, taking control of their representations, and speaking for themselves instead of being spoken for by others.


1999 ◽  
Vol 24 ◽  
pp. 69-83

Historians and anthropologists use the term ‘gender’ to denote the social meanings and cultural constructions of femininity and masculinity instead of the physical connotations of sex. Although anthropologists have also done some work on concepts of masculinity, recent studies of Greek religion have mainly analysed positions and representations of women, in so far as they have focused on gender differences at all. We will therefore first look at some elements of the female life cycle and daily life (§ 1), then look at representations of women in art and myth and at goddesses as possible role models (§ 2), and conclude with a discussion of the most important women’s festivals (§ 3).


Author(s):  
Dobromira Terpesheva

The text offers an analysis of the role of women in art and society today and poses fundamental questions regarding the visibility of female artists in Bulgaria. This study was created in connection with the Women's Artistic Projects Fund, a project of the Bulgarian Women's Fund. The fund aims to act against the under-representation of women in the professional arts and the cultural sector, to give visibility to the creativity of female artists and to increase their access to financial resources.


2015 ◽  
Author(s):  
◽  
Amber Ward

This article-style dissertation disrupts the status quo of academic research by exploring the subjectivity of women art educators across time. The researcher investigates subjectivity, as an evolution of tensions, without being beholden to tradition by using thinking with theory as a methodology for data and visual analysis. By working within and against the established structures of academe, art educators engage in a process of becoming. The dissertation illuminates processes of becoming while (a) disrupting labels placed upon women postsecondary art educators, (b) discovering the emergence of discourse when revisiting an exhibition, and (c) deconstructing the truths regarding two matriarchs of art education. These studies address equity in pK-20 curricula and programs with implications for producing justice in classrooms, artmaking, and among disciplines. The researcher organizes the dissertation into five chapters. The purpose of the first chapter is to introduce three related research studies, or manuscripts, by contextualizing them in the field of art education. Specifically, she states the problems under investigation, describes relevant scholarship, and presents the research theories and strategies. Each manuscript contains a unique study with complementary figures and/or tables, imbedded within the written text. Chapter Five includes a discussion where she outlines the manuscripts' major discoveries, summarizes the linkages among the three manuscripts, and addresses the ways in which the research has the potential to contribute to the field.


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