Conclusion

2018 ◽  
pp. 267-268
Author(s):  
Kimberly Lamm
Keyword(s):  
Women Artists ◽  
The Other ◽  
Linguistic Structure ◽  
Shared Attention ◽  
Angela Davis ◽  
1960S And 1970S ◽  
Other Woman ◽  
Mary Kelly

The conclusion foregrounds the claim that the artists whose artwork is the focus of Addressing the other woman – Adrian Piper, Nancy Spero, and Mary Kelly – deployed texts and images of writing to create an address that calls to viewers and asks them to participate in the project of deconstructing the sign woman. The conclusion also underscores that this artwork not only attests to the attention women artists paid to visual and textual appearance language in the late 1960s and 1970s, but also suggests feminism’s wide and rich historical impact. The writings of Angela Davis, Valerie Solanas, and Laura Mulvey help to highlight this impact, as they provide detailed historical frames for seeing the artwork’s interventions. Pointing to the work of psychoanalyst Juliet Mitchell and feminism’s struggles against the longevity of patriarchy, this last chapter argues that the artists’ and writers’ shared attention to language underscores the possibility and difficulty of reconfiguring the sign woman in the linguistic structure of the patriarchal unconscious..

Addressing the other woman

2018 ◽  
Author(s):  
Kimberly Lamm
Keyword(s):  
Limited Range ◽  
The Other ◽  
Angela Davis ◽  
Female Stereotypes ◽  
Similarities And Differences ◽  
Words And Images ◽  
1960S And 1970S ◽  
Other Woman ◽  
The 1960S ◽  
Mary Kelly

This book analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of ‘the other woman,’ a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork’s aspirations more concrete, it places the artists in correspondence with three writers – Angela Davis, Valerie Solanas, and Laura Mulvey – who also addressed the limited range of images through which women are allowed to become visible.

Introduction: addressing the other woman

2018 ◽  
pp. 1-22
Author(s):  
Kimberly Lamm
Keyword(s):  
Women Artists ◽  
Limited Range ◽  
The Other ◽  
Angela Davis ◽  
Art Practices ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
Other Woman ◽  
To Receive ◽  
Late Twentieth Century

This chapter introduces the importance of text and images of writing for feminist art practices in the late 1960s and 1970s. Beginning with the 2008 exhibition WACK! Art and the Feminist Revolution, it demonstrates that an engagement with language was a significant part of women artists’ efforts to resist the ways in which late-twentieth-century visual culture reinforces the idea that women should serve as the other of patriarchal culture. The introduction presents the three artists who are the focus of the book – Adrian Piper, Nancy Spero, and Mary Kelly – and argues that the ‘writerly’ qualities of the artwork they produced in the 1970s undermines the visual dominance of spectacle culture and the production of woman as a sign that represents passivity and sexual availability. The introduction also makes a case for pairing the artwork of Piper, Spero, and Kelly with the writings of Angela Davis, Valerie Solanas, and Laura Mulvey. In aligned historical contexts, these writers also addressed the limited range of images through which women were allowed to appear, and thereby suggest what it means to receive the artwork’s call to other women to collaborate on the project of creating a feminist imaginary.

scholarly journals Comparability of signed and spoken languages: Absolute and relative modality effects in cross-modal typology

2020 ◽  
Vol 24 (3) ◽  
pp. 527-562
Author(s):  
Ulrike Zeshan ◽  
Nick Palfreyman
Keyword(s):  
Conceptual Framework ◽  
Sensory Perception ◽  
Sound Symbolism ◽  
The Other ◽  
Sign Languages ◽  
Linguistic Structure ◽  
Modality Effects ◽  
Inductive Approach

AbstractThis article sets out a conceptual framework and typology of modality effects in the comparison of signed and spoken languages. This is essential for a theory of cross-modal typology. We distinguish between relative modality effects, where a linguistic structure is markedly more common in one modality than in the other, and absolute modality effects, where a structure does not occur in one of the modalities at all. Using examples from a wide variety of sign languages, we discuss examples at the levels of phonology, morphology (including numerals, negation, and aspect) and semantics. At the phonological level, the issue of iconically motivated sub-lexical components in signs, and parallels with sound symbolism in spoken languages, is particularly pertinent. Sensory perception metaphors serve as an example for semantic comparison across modalities. Advocating an inductive approach to cross-modal comparison, we discuss analytical challenges in defining what is comparable across the signed and spoken modalities, and in carrying out such comparisons in a rigorous and empirically substantiated way.

Speculum of the Other Woman

1986 ◽  
Vol 44 (1) ◽  
pp. 114 ◽  
Author(s):  
Anna Otten ◽  
Luce Irigaray ◽  
Gillian C. Gill ◽  
Luce Irigaray ◽  
Catherine Porter ◽  
...  
Keyword(s):  
The Other ◽  
Other Woman
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