scholarly journals Sisterhood as strategy : the collaborations of American women artists in the gilded age

2018 ◽  
Author(s):  
◽  
Kelsey Frady Malone
Keyword(s):  
Women Artists ◽  
Role Models ◽  
Decorative Arts ◽  
Art World ◽  
Women's Labor ◽  
Art Exhibitions ◽  
Professional Careers ◽  
The People ◽  
And Gender ◽  
Historical Moment

This dissertation employs four case studies--illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans--to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the "professional" artist. "Sisterhood as Strategy" intersects with important work in the fields of American History, Women's and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women's artistic production and more focused scholarly studies on women's labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists' letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies' magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.

scholarly journals Art in Women and Gender Studies

2019 ◽  
Author(s):  
Katy Deepwell
Keyword(s):  
Gender Studies ◽  
Cultural Production ◽  
Women Artists ◽  
Art World ◽  
Aesthetics And Politics ◽  
Women And Gender ◽  
Area Of Interest ◽  
Women And Gender Studies ◽  
And Gender ◽  
Film And Literature

In this talk, I want to examine the place of art in women and gender studies, and how these areas draw upon the interdisciplinary promise of feminist theory when considering cultural production. Art history has been part of women’s studies and the work of women artists is studied, but in the pre-dominant switch to gender, sexuality and representation in course structures, I want to draw attention to areas of enquiry that are missing from debates about feminisms in relation to contemporary art. I will refer back to different understandings of the role of art within the women’s movement in the 1970s and to the situation of women artists in the art world then and now which are contributing to this situation. Artists and artworks have produced a visual language for feminist protest and produced works which are strongly issue-based and politically engaged with regard to feminist issues, but visual art itself is marginal in most women and gender studies by comparison with research on mass media, film and literature. Studying gender, sexuality and representation (the dominant course, where feminism appears in arts curricula and visual arts in gender studies), art emerges again as a key area of interest, but this provides a very specific focus on certain types of visual representation and I will argue, as a result, other formulations of the relations between aesthetics and politics are not at the centre of these debates.

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

Minorities in the Contemporary Egyptian Novel

2018 ◽  
Author(s):  
Mary Youssef
Keyword(s):  
Literary History ◽  
First Century ◽  
Nation State ◽  
Colonial Rule ◽  
The Novel ◽  
Robust Analysis ◽  
Specific Approach ◽  
And Gender ◽  
Context Specific ◽  
Historical Moment

This book examines questions of identity, nationalism, and marginalization in the contemporary Egyptian novel from a postcolonial lens. Under colonial rule, the Egyptian novel invoked a sovereign nation-state by basking in its perceived unity. After independence, the novel professed disenchantment with state practices and unequal class and gender relations, without disrupting the nation’s imagined racial and ethno-religious homogeneity. This book identifies a trend in the twenty-first-century Egyptian novel that shatters this singular view, with the rise of a new consciousness that presents Egypt as fundamentally heterogeneous. Through a robust analysis of “new-consciousness” novels by authors like Idris ᶜAli, Bahaᵓ Tahir, Miral al-Tahawi, and Yusuf Zaydan, the author argues that this new consciousness does not only respond to predominant discourses of difference and practices of differentiation along the axes of race, ethno-religion, class, and gender by bringing the experiences of Nubian, Amazigh, Bedouin, Coptic, Jewish, and women minorities to the fore of Egypt’s literary imaginary, but also heralds the cacophony of voices that collectively cried for social justice from Tahrir Square in Egypt’s 2011-uprising. This study responds to the changing iconographic, semiotic, and formal features of the Egyptian novel. It fulfills the critical task of identifying an emergent novelistic genre and develops historically reflexive methodologies that interpret new-consciousness novels and their mediatory role in formalizing and articulating their historical moment. By adopting this context-specific approach to studying novelistic evolution, this book locates some of the strands that have been missing from the complex whole of Egypt’s culture and literary history.

scholarly journals Art Criticism and the State of Feminist Art Criticism

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 28
Author(s):  
Katy Deepwell
Keyword(s):  
Women Artists ◽  
Art Criticism ◽  
The State ◽  
Art World ◽  
Feminist Art ◽  
The Gaze ◽  
The Third ◽  
Fourth Part ◽  
State Of Art ◽  
First Offers

This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”. In the fourth part, against the limits of the first three, the state of feminist art criticism across the last fifty years is reconsidered by highlighting the plurality of feminisms in transnational, transgenerational and progressive alliances.

Imitating the Traditional Gods

Mnemosyne ◽  
2021 ◽  
pp. 1-22
Author(s):  
Vilius Bartninkas
Keyword(s):  
Role Models ◽  
Moral Virtues ◽  
The People ◽  
Additional Input ◽  
Virtuous Character ◽  
Ethical Role ◽  
Virtuous Life ◽  
The Relationship ◽  
Religious Aspect ◽  
The Ideal

Abstract This paper examines moral virtues and cult practice in Plato’s Laws. It explores the symposium and the chorus and their potential to provide a recognisable cultural setting, in which the Magnesian citizens can test their responses to pleasurable and painful experiences and thus train their moral virtues. The challenge to this reading is to explain what additional input to moral habituation is provided by the religious aspect of these institutions. This paper draws attention to the relationship between the people and the patron gods of the respective institutions. It argues that the cult practices are designed to reflect the virtuous character of the traditional gods, who serve as the ethical role models for the worshipers. In this way, the worship of the traditional gods not only facilitates moral progress by exemplifying the objective of virtuous life, but also gives an egalitarian version of the ideal of godlikeness to its citizens.

Feasting Ritually: An Ethnography on the Implications of Feasts in Religious Rituals

2021 ◽  
pp. 0972558X2110571
Author(s):  
Anil Gopi
Keyword(s):  
Social Life ◽  
The Other ◽  
Social Solidarity ◽  
Cultural Significance ◽  
Religious Rituals ◽  
The People ◽  
Religious Festivals ◽  
The World ◽  
Characteristic Features ◽  
And Gender

Food and feast are integral and key components of human cultures across the world. Feasts associated with religious rituals have special social and cultural significance when compared to those in any other festivities or celebrations in people’s life. In this study, an approach is made to comparatively analyze the feasts at religious festivals of two distinctive groups of people, one with a characteristic of simple society and the other of a complex society. The annual feast happening at the hamlets of the Anchunadu Vellalar community in the last days of the calendar year is an occasion that portrays the egalitarian nature of the people. While this feast is restricted within a single community of particular caste affiliation and geographical limitations, the feast associated with the kaliyattam ritual of village goddess in North Malabar is much wider in scope and participation. The enormous feast brings the people in a larger area and exhibits a solidarity that cuts across boundaries of religion, caste and community. Beyond the factors of social solidarity and togetherness, these events also illustrate its divisive characters mainly in terms of social hierarchy and gender. A comparative study of both the two feasts of two different contexts reveals the characteristic features of religious feasts and the value of food and feast in social life and solidarity and also how it acts as a survival of their past and as a tradition.

Development and Gender-Linked Economic Inequality in the Era of Globalization

2018 ◽  
Vol 4 (3) ◽  
pp. 304-324
Author(s):  
Moshe Semyonov
Keyword(s):  
Labor Force ◽  
Labor Force Participation ◽  
Occupational Segregation ◽  
High Status ◽  
Gender Pay Gap ◽  
Women's Labor ◽  
Market Outcomes ◽  
Pay Gap ◽  
And Gender ◽  
Women's Labor Force Participation

This paper focuses on the relations between development and gender disparities in labor market outcomes in the era of globalization. Within a cross-national comparative framework, the article examines the relations between development and globalization and three aspects of gender-linked disparities (women's labor force participation, gender occupational differentiation, and gender pay gap) at two time points: 1990 and 2015. The data reveal patterns in the relationship between development, globalization, and each dimension of gender inequality. First, development but not globalization tends to increase women's labor force participation. Second, development is likely to reduce gender occupational segregation. But the effect is indirect; it is transmitted via the increased number of economically active women. Third, less gender occupational segregation does not necessarily mean greater occupational equality; high female labor force participation is likely to reduce women's likelihood of employment in high-status professional and managerial occupations. Fourth, gender occupational inequality appears to be one of the sources of a country's gender pay gap; the pay disparity between men and women tends to be greater in countries where gender occupational inequality is high. A model that summarizes the complex relations among development, globalization, and the various dimensions of gender-linked economic activity and inequality is proposed and discussed.

scholarly journals The influence of role models on trans men's identity development

2021 ◽  
Author(s):  
◽  
Jennah Strathausen
Keyword(s):  
Identity Development ◽  
Role Models ◽  
Minority Stress ◽  
Protective Factor ◽  
Personal Narratives ◽  
Community Based Participatory Research ◽  
Future Research ◽  
Positive Role ◽  
Trans Men ◽  
And Gender

Transgender and gender nonconforming (TGNC) individuals face significant stigma and discrimination stemming from negative societal attitudes toward their experienced gender incongruence. Much of the LGBTQ literature on TGNC health disparities and gender minority stress focuses on the influence of overt acts of violence and oppression, often leaving more subtle and ubiquitous stressors, like invisibility, unexplored. In addition, there is a limited amount of literature on the experiences of transgender men, particularly those residing in the central U.S. Research suggests that the influence of positive role models can mitigate many of the stressors experienced by TGNC people. This study aimed to explore the influence of role models on trans men's identity development. Using Photovoice Methodology situated in Community-Based Participatory Research, this project collaboratively explored the needs, assets, and concerns of trans men living in Mid-Missouri. Twelve participants (MdnAge = 31.5 years-old) and the researchers separately grouped the participant-generated photographs and personal narratives into eight themes, including Authenticity, Acceptance, Inaccessibility, Isolation, and "Trans Enough?" Results supported the idea that access to positive role models serves as a protective factor for TGNC people. Results additionally highlight that trans men possess significant characteristics of resilience. Several implications for practice, public policy, and future research are provided.

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