Furniture, Feminism and the Feminine: Women Designers in Post-war Italy, 1945 to 1970

2009 ◽  
Vol 22 (3) ◽  
pp. 243-257 ◽  
Author(s):  
C. Rossi
Keyword(s):  
Author(s):  
Işıl Şahin Gülter

The theatre provides the playwrights with a public platform through which they open up a more comprehensive framework to reinterpret the concept of the feminine. The chapter, in which translation remains a fundamental instrument that will be utilized to offer new interpretations to old ideas about the feminine, explores how the post-war British woman playwright Ann Jellicoe translates a women-related myth and reinterprets the concept of the feminine in The Sport of My Mad Mother (w.1958, r.1962). In this context, the chapter focuses on the concept of the Terrible Mother archetype which represents the female creative power as well as the potential for destruction in the play within a special reference to Jung's premises on the archetypal nature of the femininity and maternity. Thus, the chapter indicates that Ann Jellicoe, taking on board and challenging the perceived social, ideological, and psychological ideals of femininity, reclaims the legacy of the female strength.


2019 ◽  
pp. 146954051988999
Author(s):  
Teresa Davis ◽  
Margaret K. Hogg ◽  
David Marshall ◽  
Alan Petersen ◽  
Tanja Schneider

The caring mother is one of the most recurring images of femininity in post-war advertising. We examine how mothers are depicted as knowing consumers in advertisements in Australian Women’s Weekly and the United Kingdom’s Good Housekeeping magazines between 1950 and 2010. Our data suggest that although visual representations of maternal consumer knowledge change over this period, assumptions about the responsibilities of mothers endure in the family-related advertisements in these women’s magazines. There is a shift over time, however, from a representation of mothers as passive recipients of advice provided by external experts to a more active representation of mothers as experts themselves within both domestic and private spheres. We trace historically how the trope of the knowing mother works as a visual discursive device that helps to reinforce not just patriarchal hegemony, but a particular form of maternal hegemony. The hegemony of motherhood presents a particularly desirable/idealised femininity. However, this visual depiction also serves to gender the very way in which maternal knowledge is to be used. While maternal knowledge is depicted as changing from being merely intuitive or practical to subsuming the technique of knowledge or prescribed expertise; the purposes for which such knowledge is used remain firmly situated within the maternal/feminine realm of nurturing and caring consumption for the family. Despite shifts in discourse that appear to increasingly value mothers’ knowledge—there exists an enduring assumption that mothers should use their knowledge for domestic caring and consumption, ultimately reinforcing a heteronormativity of the use of women’s knowledge that subdues even expert knowledge for a domestic purpose.


Author(s):  
Lisa von Stockhausen ◽  
Sara Koeser ◽  
Sabine Sczesny

Past research has shown that the gender typicality of applicants’ faces affects leadership selection irrespective of a candidate’s gender: A masculine facial appearance is congruent with masculine-typed leadership roles, thus masculine-looking applicants are hired more certainly than feminine-looking ones. In the present study, we extended this line of research by investigating hiring decisions for both masculine- and feminine-typed professional roles. Furthermore, we used eye tracking to examine the visual exploration of applicants’ portraits. Our results indicate that masculine-looking applicants were favored for the masculine-typed role (leader) and feminine-looking applicants for the feminine-typed role (team member). Eye movement patterns showed that information about gender category and facial appearance was integrated during first fixations of the portraits. Hiring decisions, however, were not based on this initial analysis, but occurred at a second stage, when the portrait was viewed in the context of considering the applicant for a specific job.


1995 ◽  
Vol 40 (4) ◽  
pp. 329-330
Author(s):  
Clayton P. Alderfer

2009 ◽  
Author(s):  
Christopher Layne ◽  
Brian Allen ◽  
Krys Kaniasty ◽  
Laadan Gharagozloo ◽  
John-Paul Legerski ◽  
...  
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