Academic literature on the topic 'Female genealogies'

Based on 25 microsatellites, first order relatedness was established for three dyads of individuals contained in the Norwegian minke whale DNA-register. One large female minke whale was a member of all three dyads. Two competing genealogies were considered and under both of these the quartet contained siblings that with high probability must be half-siblings, as opposed to being full siblings.

In the 1930s and ‘40s, nightclub impresario Billy Rose cast Olympic swimmers and divers in starring roles for his patriotic World’s Fair revue. Positioning the Aquacade in the genealogies of mass spectacles, militaristic display, girly revues, and the rising popularity of pool culture reveals the theatrical framing of athletic labor as vigorously effective in creating a visible female collective on the eve of World War II.

This article analyses gendered genealogies in an example of North African Jewish women’s writing in French: Paule Darmon’s Baisse les yeux, Sarah (1980), which draws heavily on the author’s personal experience. This autofictional novel recounts the chequered personal history of autodiegetic narrator Sarah Lévy, born to an Algerian father and a Moroccan mother, and raised in Morocco until the age of 17 when her family leave for France. The articles focuses on a three-generational female genealogy of Moroccan-Jewish women, and its problematic relationship with the stereotypical Eastern model of woman. Sarah’s ambivalence towards her matrilineal heritage throws into relief the fault lines that can occur in lines of descent. Although allied with her mother in the latter’s partial rejection of female oppression, she is also sensitive to her mother’s always already subaltern and therefore undesirable status as doubly stigmatized object – female and Oriental – within the French colonial discourses internalized by her father.

Using a study on foundings of Silicon Valley law firms, I propose and test an organizational theory on the genealogical persistence of gender inequality that emphasizes the routines (or blueprints) and experiences that founders transfer from their parent firms to their new firms. This transfer links the parent firm's gender hierarchy to women's advancement opportunities in the new firm. Founders from parent firms that historically had women in leadership positions, such that female leadership is institutionalized, are more likely to found firms that promote women into prominent positions. Conversely, founders from firms that historically had women in subordinate positions, such that female subordination is institutionalized, are less likely to promote women into prominent positions. Findings are consistent with the theory and also show that the persistence effect is stronger for founders who were previously lower-ranked employees and for founders who institute an organization of work similar to their parent firm. The study suggests that future research should investigate routines and structures that not only generate gender inequality unintentionally but are in turn replicated across generations of organization through the mobility of employees.

Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses. Specifically, it focuses on the relationship between Debbie Reynolds, who was a novice dancer when she was cast in the film, and the two other white women dancers who helped shape Reynolds's filmic body: assistant choreographer Carol Haney and dance-in Jeanne Coyne. Combining feminist and critical race perspectives with production studies, film studies, and dance and performance studies, the essay unites often disconnected gendered and racial analyses of the film by emphasizing the gendered forms of labor and the multiracial genealogies through which dance is reproduced. It also shows how the guise of white credibility enabled Reynolds to conceal her intercorporeal and multiracial debts. Finally, the essay argues that the presence of dancers of color in the film, most notably Rita Moreno, haunts the chains of white corporeal debt that bind Reynolds to Haney and Coyne.

This study introduces a comparative framework to understand patriarchal genealogies and technologies, with reference to an anthropological commentary concerning the broader forms of coloniality of power between dominant male and dominated female bodies in Greece, the Balkans, and the Caucasus. It argues that the patterns of patrilineality, practices and representations of male honor, and female exclusion from the native family are literally and symbolically feeding on the matrix of patriarchal coloniality in the regions. The analysis is based on representative ethnographic research and historical approaches. Patrilineal kin structures, customs of captivity (i.e., bride kidnapping, sworn virgins, and honor crimes), and generalized practices of young virgin exogamy seem responsible for women’s minor status in the social stratification. Traditional hierarchies and modern social inequalities seem to motivate dispositions and regulate behaviors for female, minor, subordinate, and dispossessed bodies, as well as dominant male protectors and patriarchs. The text adopts a postcolonial and decolonial black feminist critique. It argues that in a longue durée process, a palimpsest pattern of patriarchy emerges, made upon the habitus of gendered ideology. Shaped by patriarchalism, paternalism, and patronage, patriarchy motivates a generalized pattern of coloniality within post-Ottoman geographies, thus regulating multiple material and symbolic inequalities, and even multiplying antagonistic hierarchies among family units, communities, central nation/state, periphery, and borders.

Ce travail de recherche porte sur l'œuvre de l’écrivaine italienne contemporaine Melania Mazzucco. Si la mémoire, le rôle des femmes et la critique sociale sont les thèmes les plus étudiés de ses œuvres, le fil conducteur de notre recherche est plutôt le concept de l'engagement. Il s'agit d'une nouvelle perspective critique, où l’impegno constitue une sorte de "macrocatégorie" englobant tous les nombreux thèmes de la production littéraire de l'écrivaine analysés par les critiques. L'engagement qui ressort de cette production consiste en un intérêt marqué pour les questions sociales, pour la prise en charge des opprimés et des marginaux dans la société. C’est dans ce cadre qu’un rôle très important est joué par les femmes, qui sont toujours les protagonistes des romans : ce sont souvent des femmes excentriques, insatisfaites, perpétuellement à la recherche de leur propre place dans le monde et de leur propre identité. Il s'agit en somme d'une forme particulière d'engagement civique lié à la problématique des femmes se développant principalement selon deux directions, qui vont constituer la deuxième et la troisième parties de notre thèse : les généalogies féminines que Mazzucco reconstruit dans ses romans historiques, avec l'intention de redonner une vie, une voix et une histoire à des figures de femmes du passé qui ont réellement existé et qui peuvent être une source d'inspiration pour les femmes d'aujourd'hui ; la représentation de l'Italie contemporaine à travers des figures féminines qui mettent en évidence des problématiques comme le sexisme, le phénomène migratoire, de nouveaux modèles familiaux. Les femmes deviennent ainsi un vecteur pour traiter des questions qui touchent les deux sexes. Dans notre thèse nous avons donc examiné la présence de formes d'engagement dans l'œuvre de Mazzucco en étudiant ses manifestations dans les deux directions décrites ci-dessus, pour répondre à quelques questions fondamentales : dans le débat sur l'engagement littéraire, très fécond aujourd’hui en Italie, comment pouvons-nous situer l'œuvre de Mazzucco ? Sous quelles formes et sur quels thèmes son engagement s'exprime-t-il ? Est-il efficace ? Est-il apprécié ? Notre thèse est divisée en trois parties. Dans la première partie, l'objectif est de situer Mazzucco dans le contexte littéraire italien, depuis les années 1980 – celles de sa formation – jusqu’à nos jours, afin de mettre en évidence les influences, les héritages et les écarts. Dans la deuxième partie, nous proposons une analyse croisée de deux romans, qui sont deux biographies historiques de femmes artistes oubliées par l'histoire : La lunga attesa dell'angelo, qui raconte la vie de Marietta Tintoretto, la fille préférée du célèbre peintre qui a été encouragée par son père à exploiter ses talents malgré l’interdiction faite aux femmes d’être peintre ; L'Architettrice, qui raconte l’histoire de Plautilla Bricci, la première femme architecte de l'histoire moderne, qui était également fille d’un artiste. Nous avons voulu comprendre d’une part, pourquoi Mazzucco s'est engagée dans cette opération de récupération, d’autre part, qui sont ces femmes du passé dont elle veut transmettre l’expérience de vie. La troisième et dernière partie de la thèse est consacrée à l'étude de quatre romans dont l’histoire se déroule de nos jours : Un giorno perfetto, Limbo, Sei come sei, Io sono con te. Storia di Brigitte. Ces livres ne se proposent plus de réévaluer des femmes extraordinaires du passé pour les réintégrer dans l'histoire artistique et culturelle italienne. Ils racontent plutôt des histoires ordinaires de femmes, dans l'Italie d'aujourd'hui, aux prises avec des problèmes de violence, discrimination, marginalité, au sein de la famille et/ou de la société
This research project focuses on the work of the contemporary Italian writer Melania Mazzucco. While memory, the role of women and social criticism are the most studied themes in her works, the main thread running through our research is the concept of commitment. This is a new critical perspective, in which impegno constitutes a kind of 'macro-category' encompassing all the many themes in the writer's output that have been analysed by critics.Mazzucco's commitment, which is evident in his literary output, consists of a marked interest in social issues, in caring for the oppressed and marginalised in society. It’s in this context that women play a very important role, as they are always the protagonists of his novels: they are often eccentric, dissatisfied women, perpetually in search of their own place in the world and their own identity. In short, this is a particular form of civic commitment linked to women's issues, and it develops mainly in two directions, which will form the second and third parts of our thesis: the female genealogies that Mazzucco reconstructs in his historical novels, with the intention of giving a life, a voice and a history to female figures from the past who really existed and who can be a source of inspiration for women today; the representation of contemporary Italy through female figures who highlight issues such as sexism, the migratory phenomenon, new family models. Women thus become a vehicle for addressing issues that affect both sexes equally.In our thesis, therefore, we have examined the presence of forms of commitment in Mazzucco's work by studying its manifestations in the two directions described above, in order to answer some fundamental questions: in the debate on literary commitment, which is very fertile in Italy today, how can we situate Mazzucco's work? In what forms and on what themes does his commitment express itself? Is it effective? Is it appreciated?Our thesis is divided into three parts. In the first part, the aim is to situate Mazzucco in the Italian literary context, from the 1980s – the period of her formation – to the present day, in order to highlight influences, legacies and gaps. In the second part, we propose a cross-analysis of two novels, which are both historical biographies of women artists forgotten by history: La lunga attesa dell'angelo, which tells the life story of Marietta Tintoretto, the famous painter's favourite daughter who was encouraged by her father to exploit her talents despite the ban on women being painters; and L'Architettrice, which tells the story of Plautilla Bricci, the first woman architect in modern history, who was also the daughter of an artist. We wanted to understand why Mazzucco embarked on this recovery operation, and who these women of the past were whose life experience she wanted to pass on. My aim is to understand why Mazzucco embarks on this operation of recovery, who these women of the past are whose life experience she wants to pass on, and how she wants to pass it on.The third and final part of the thesis is devoted to the study of four novels set in the present day: Un giorno perfetto, Limbo, Sei come sei, Io sono con te. Storia di Brigitte. These books no longer set out to re-evaluate extraordinary women of the past in order to reintegrate them into Italian artistic and cultural history. Instead, they tell the ordinary stories of women in Italy today, struggling with problems of violence, discrimination and marginality within the family and/or society

Kvinnlig ejakulation har på olika sätt skildrats sedan början av vår tideräkning och beskrivningar av den och av kvinnans sexualitet har varierat beroende på historisk kontext. Syftet med denna studie var att undersöka vilken roll forskning kan spela i att definiera den kvinnliga sexualiteten, med debatten om den kvinnliga ejakulationen mellan 1978-2018 som exempel. För att kontextualisera debatten har även feministiska skildringar under samma period inkluderats. Materialet har bestått av vetenskapliga artiklar, annan litteratur samt olika typer av internetkällor som berör den kvinnliga ejakulationen. Materialet har analyserats med hjälp av en foucauldiansk genealogisk diskursanalys, med socialkonstruktivism som grund. Debatten kan delas upp i tre diskursiva spår som följer varandra kronologiskt. Det första diskursiva spåret fokuserar på det forskningsfält som växte fram under 1980-talet där huvudsyftet var att normalisera och ge vetenskapligt underlag för den kvinnliga ejakulationen. Det andra diskursiva spåret skildrar hur företrädare för den sexpositiva feminismen anammade kvinnlig ejakulation som en symbol för makt över den egna kroppen och sexualiteten. Det tredje diskursiva spåret skildrar hur fenomenet återupptäcktes med hjälp av andra forskningsmetoder men också hur kvinnlig ejakulation beskrevs som en dysfunktion, vilket väckt starka motreaktioner utanför forskningsfältet. Trots att fenomenet är känt sedan lång tid tillbaka går uppfattningarna fortfarande isär och bilden av den kvinnliga ejakulationen varierar beroende på vilken sorts kunskap som har legitimitet. Förståelsen av kvinnlig ejakulation är starkt beroende av forskningens definition av den. Detta synliggörs när den kvinnliga ejakulationen går från att beskrivas som ett sexuellt fenomen till ett sjukligt till följd av att urinmarkörer uppmärksammats i den utsöndrade vätskan. Forskares agerande kan förstås som en patologisering av den kvinnliga sexualiteten.
Female ejaculation has been portrayed in various ways since the beginning of our era and descriptions of it and of women’s sexuality have varied depending on historical context. The aim of this study was to investigate the possible role of scientific research in defining female sexuality, with the debate on female ejaculation between 1978-2018 as an example. In order to contextualize the debate, the feminist portrayal during the same period has also been included. The material has consisted of scientific literature, other literature and various types of internet sources that refers to the female ejaculation. We analyzed the material using a Foucauldian genealogical discourse analysis, with social constructivism at the core. The debate can be divided into three discursive tracks that follow each other chronologically. The first discursive track focuses on the research field that emerged during the 1980s, in which the main intention was to normalize and provide scientific evidence for the female ejaculation. The second discursive track describes how representatives of sex-positive feminism embraced female ejaculation as a symbol of power over one’s own body and sexuality. The third discursive track portrays how the phenomenon was rediscovered using other research methods, but also how female ejaculation was described as a dysfunction, which caused strong counter-reactions outside of the scientific research field. Although this phenomenon has been known for a long time, perceptions still differ and the image of it varies depending on what kind of knowledge that is legitimate at a certain point in time. The understanding of female ejaculation is strongly dependent on definition of it in scientific research. This is made visible when the female ejaculation changes from being described as a sexual phenomenon to a diseased one due to the fact that urinary markers have been detected in the emission fluid. Scientists' actions can be understood as a pathologization of female sexuality.

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CLARICE LISPECTOR ACTED AS A COLUMN OF NEWSPAPERS IN THE MIDDLE CENTURY, ADVISING WOMEN ABOUT CONDUCTS, FORMULATING A POSSIBLE STEREOTYPE OF WOMAN. THROUGH THE BOOK FEMALE COURIER WE CONTACT THE AUTHOR'S SPEECH, WHERE THE ANALYSIS OF THE SPEECH ALLOWED US TO IDENTIFY THE DISCURSIVE OPERATION THAT GENEALOGICALLY PERCORNED FROM THE HIGH TO THE DOWN, PERPASSING BY THE DEVICES OF THE NORMATIVE SPEECH THE AUTHOR LIVES. THE FUNDAMENTAL ISSUE TO BE ANSWERED IS HOW THE AUTHOR IS POSITIONED ABOUT THE SOCIAL ROLES OF GENDER IN THE PERIOD REFERRED TO, CONSIDERING THE IMPACT THAT THEY PROVIDED IN FORMAL AND INFORMAL EDUCATION, AS A REFLECTION OF THE INFLUENCES AND DISCURSIVE INTERFERENCES. THE MAJOR PART OF THE EFFECTIVE SPEECH KEEPS THE FEMININE STAND, OF WOMAN WHO IS MOTHER AND WIFE, AND WELL SUCCESSFUL WHEN PRETTY. THERE ARE MOMENTS IN WHICH THE AUTHOR SEEMS TO TRANSGRESS THIS NORMATIVE SPEECH, BUT RETURN TO THE ARCHETYPE, BUT THEIR TRANSGRESSIONS BRING SIGNIFICANT REFLECTIONS ON THE NORMATIVITY.KEY WORDS: GENDER PAPERS, INFORMAL EDUCATION, CLARICE LISPECTOR JOURNALIST, FEMALE COLUMNS.
CLARICE LISPECTOR ATUOU COMO COLUNISTA DE JORNAIS EM MEADOS DO SÉCULO XX, ACONSELHANDO MULHERES ACERCA DE CONDUTAS, FORMULANDO UM POSSÍVEL ESTEREÓTIPO DE MULHER. ATRAVÉS DO LIVRO CORREIO FEMININO ENTRAMOS EM CONTATO COM O DISCURSO DA AUTORA, ONDE A ANÁLISE DO DISCURSO NOS PERMITIU IDENTIFICAR O FUNCIONAMENTO DISCURSIVO QUE GENEALOGICAMENTE PERCORREU DO ALTO AO BAIXO, PERPASSANDO PELOS DISPOSITIVOS DO DISCURSO NORMATIVO QUE A AUTORA VIVENCIA. A QUESTÃO FUNDAMENTAL A SER RESPONDIDA É COMO A AUTORA SE POSICIONA ACERCA DOS PAPÉIS SOCIAIS DE GÊNERO NO PERÍODO REFERIDO, CONSIDERANDO O IMPACTO QUE ELES PROPORCIONARAM NA EDUCAÇÃO FORMAL E INFORMAL, COMO REFLEXO DAS INFLUÊNCIAS E DAS INTERFERÊNCIAS DISCURSIVAS. A MAIOR PARTE DO DISCURSO EFETIVADO MANTÉM O PADRAO FEMININO, DE MULHER QUE É MÃE E ESPOSA, E BEM-SUCEDIDA QUANDO BONITA. HÁ MOMENTOS EM QUE A AUTORA PARECE TRANSGREDIR ESSE DISCURSO NORMATIVO, PORÉM RETORNANDO AO ARQUÉTIPO, MAS SUAS TRANSGRESSÕES TRAZEM SIGNIFICATIVAS REFLEXÕES SOBRE A NORMATIVIDADE.

This dissertation, “Communicating Across Time: Female Genealogies in the Medieval Literary Imagination,” explores the range of genealogical forms, alternative to patrilineage, that British writers used to depict the transmission of women’s power across time in early-twelfth to late-fourteenth-century literature. By taking an expansive definition of genealogy and exploring romance and hagiography, it highlights a widespread and persistent interest in medieval literature in the ways female characters record their legacies and communicate these legacies to future generations. By examining genealogy in these literary terms, this study revises current understandings of a core aspect of medieval culture and expands current definitions of what constitutes medieval historiography. Though patrilineal genealogy has been widely studied, we currently have little vocabulary to talk about female genealogies. Broadly stated, genealogy in this study describes the author’s description of a deliberate communication from the past that explains, curates or contests contemporary social-political landscapes, and to make claims to the future. Patrilineage, which became the main system of genealogy from the twelfth century, idealized the transmission of power – name, land holdings, and the legend of a common ancestor – from father to son. Even the notion that women possessed power and stories to communicate threatened a system that relied on mothers as passive genealogical vehicles. Aristocratic women, as landholders, heirs, politicians and religious leaders, did of course have legacies to communicate. Because medieval women’s claims to land and power were more mobile and less standardized than men’s, this dissertation is less interested in what female protagonists communicate across time and more interested in how - the means and processes of communication. This study’s focus on alternative female genealogies also highlights new ways of understanding literary representations of medieval maternity. In the texts examined, motherhood is not limited to the domestic, bodily and momentary, but is a political and agential role that is actively managed by the woman herself, often in conjunction with other forms of written and verbal communication. Literary texts reveal the various, and often unexpected, means medieval writers and readers imagined for women’s cross-temporal communications. Female characters frequently employ alternative genealogical ‘bodies’ to that of a male child, actively revising the topos of women as simply the bodily matter and means for a male line. The characters inscribe their claims to land, power and spirituality through footprints in rocks, blood-impressed doors, tenderly-handled books, a mother’s exact resemblance imprinted in her child’s face. The intimacy and deliberateness with which these women create and manage their cross-generational communications both draws on and destabilizes traditional ideals of motherhood and genealogy. The four chapters read across French, English and Latin texts, as many English readers would have done, with a focus on the genres of hagiography, romance and chronicle from the twelfth to fourteenth centuries.

This thesis analyzes examples of current female circumcision discourse within U.S. feminist contexts and western-based anti-circumcision projects operating in Kenya. This analysis reveals that, despite recent critiques from postcolonial scholars and activists, the knowledge produced around female circumcision perpetuates discursive and material violence against Kenyan Maasai communities. I explore how this violence has persisted in neo/colonial eras as part of the white western feminist ‘care of self’ technique of displacing female abjection through the pleasure of whiteness. I trace how these formations of race and gender have become attached to understandings of genitalia through colonial-era race science, Freudian psychoanalysis and some feminist texts from 1949-1970. I suggest that these western feminist constructions of sexual liberation rely on depicting racialized women as primitive and degenerate. Finally, I argue that these racial and gendered constructions now inform concepts of ‘developed’ versus ‘underdeveloped’ bodies and nations in contemporary international development work.

Jane Campion is one of the few women occupying the public speaking position of the auteur in contemporary culture, evidenced by her ability to generate a volume of paratextual material (Genette, 1991, 1997) around her films, including interviews, DVD commentaries and on-set documentaries. Given that these are still largely contextual spaces occupied by male directors, Murray argues that Campion’s representation and her performance in the paratext (Corrigan, 1990; Verhoeven, 2009) constitutes a unique case study of the female director, as auteur, in practice. Campion’s paratextual talk arguably mobilises a specific persona, constituted of her personal biography and artistic labour, and her interactions with her female producers demonstrate her ability to speak in public of making films as a work of women’s fantasy and desire. Furthermore, Murray argues that Campion plays the subject and desiring hero of her own narrative. The feminist potential represented by this performance can be seen through the theoretical lens of Luce Irigaray’s concept of parler femme (1985, 1993), being the potential recovery of women’s relationships to each other and of their intergenerational genealogies. Therefore, the persona of the female auteur offers an alternative to the established and exclusionary discourses of film theory and popular film journalism.

Abstract This chapter explores the ways in which monastic households in the tenth and eleventh centuries adapted the rhetoric of spiritual maternity that had been developed in the seventh and eighth centuries to new ends. In contrast with scholarship that views similarities between hagiographical accounts of early female saints as evidence of the transmission of fragmentary knowledge via maternal genealogies, I suggest that these patterns help to shed light on practices of embroidery, forgery, and mimicry in the tenth and eleventh century that were designed to reinforce a community’s claims to the lands and relics of a virginal founder figure.

Abstract Frances feilding, whose given name was Dorothy, was The daughter of Francis Lane of Glendon by Rothwell, Northam ptonshire and fourth and last wife of Basil Feilding, second Earl of Denbigh, The Civil War hero. At The time of her marriage, she was considerably younger than her husband. After his death in 1675 she married Sir John James. Though not The only person of her name to be listed in late seventeenth- and early eighteenth-century Feilding genealogies, she is probably The signatory of a versified compliment to Christabella Rogers, which survives in The Berkshire Record office (Barrett & Belson papers, D/EBT Z34). She was most probably The compiler of a MS now at Yale (Beinecke Library, Osborn MS B 226), a collection of original poems, copied poems, prayers, recipes, and remedies, written by a female member of The Feilding family in The late seventeenth century, and containing several powerful confessional poems reacting to The author’s widowhood.

Abstract This chapter focuses on three texts from early in Madeleine de Scudéry’s career—Les Femmes illustres, Artamène ou le Grand Cyrus, and Clélie—to examine how she influenced literary taste with modern and feminised versions of ancient history. It treats the tensions between learning and modesty in her own ethos of amateurism and in the portrayal of her exemplary female intellectual ‘Sapho’, and her counterpart, the ‘savante’. The chapter then analyses Scudéry’s depictions of Lucrèce and Clélie in Clélie, showing how she creatively engaged with ancient sources and the exemplarity tradition, to argue that she departed from the patriarchal framing of the founding of the Roman Republic by modifying the role of masculinity and the narrative of Lucretia’s rape. With her emphasis on Sappho and ancient lyric, she reorientates the novel’s genealogies towards a lyric, rather than epic, tradition, and makes this innovation key to her bid for recognition and legitimacy.