Relevant bibliographies by topics / Feminism and art

Academic literature on the topic 'Feminism and art'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Feminism and art":

1

Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (February 25, 2020): 28. http://dx.doi.org/10.3390/arts9010028.

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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.
2

Witkowska, Sylwia. "POLISH FEMINISM – PARADIGMS." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 192–239. http://dx.doi.org/10.5604/01.3001.0012.9836.

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Sylwia Witkowska Polish Feminism – Paradigms The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The state- ment that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photogra- phy or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
3

Trevisan, Gabriela Simonetti. "A mulher e a arte: a criação feminina nas palavras de Júlia Lopes de Almeida." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 189–215. http://dx.doi.org/10.22456/2596-0911.103861.

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Este artigo tem como foco uma análise do texto “A mulher e a arte” (sem data), da escritora carioca Júlia Lopes de Almeida (1862-1934). Este escrito, recém-publicado na íntegra pela primeira vez, em revista acadêmica, constitui uma conferência da autora na qual ela expõe suas opiniões sobre o tema da arte de autoria feminina, tecendo uma série de críticas de cunho feminista à desigualdade entre os gêneros no espaço da criação artística. Em seu texto, a literata cita diversos nomes de artistas e intelectuais mulheres, de modo a sustentar seu argumento em defesa da potência criativa feminina e assinalar a importância da transformação da cultura patriarcal. Assim, a partir do olhar historiográfico e embasados pela epistemologia feminista, buscamos ressaltar a conferência como fundamental para o estudo da escrita de autoria feminina e feminista no Brasil entre os séculos XIX e XX.Palavras-chave: Júlia Lopes de Almeida. Literatura. Feminismo. AbstractThis article focuses on an analysis of the text “The woman and the art” (undated), by the writer Júlia Lopes de Almeida (1862-1934), from Rio de Janeiro. This writing, recently published in full for the first time, constitutes a conference in which the author exposes her opinions on the theme of art of female authorship, weaving a series of feminist criticisms of the inequality between genders in the space of artistic creation. In her text, Júlia lists several names of artists and women intellectuals, in order to support her argument in defense of the feminine creative power and point out the importance of the transformation of patriarchal culture. Thus, from the historiographic perspective and based on feminist epistemology, we seek to emphasize the conference as fundamental for the study of female and feminist writing feminists in Brazil between the 19th and 20th centuries.Keywords: Júlia Lopes de Almeida. Literature. Feminism.
4

Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
5

Kwak, Su-Joung, and Eun-Mi Choi. "A Study on Nail Art Design, Reflecting Symbolic Feminine Elements Expressed in the Film ‘Agassi (The Handmaiden)’." Korean Society of Beauty and Art 23, no. 2 (June 20, 2022): 239–50. http://dx.doi.org/10.18693/jksba.2022.23.2.239.

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In a modern Korean society, feminism which pursues gender equality and targets to secure social equality has emerged as a hot topic across all sectors such as economy, politics, society, art and culture. As a dominant form of popular art & culture, film has a significant influence on people. In terms of the history of movie, descriptions on women have become more elaborate. In modern films, especially, perspectives on women have evolved from sexual consciousness to feminine growth. In feminist films, it not desirable to create a myth which emphasizes women’s tough aspects only or just focus on superficial resistance or women’s liberation. Furthermore, feminism should not be satirized as a formal or commercial jest. Instead, descriptions on women have to be more serious with sincerity. In particular, Director Park Chan-wook often starred a woman as a main character in his films, and his mise-en-scène is unbelievable. His unusual pictorial sense which will never be found elsewhere around the globe also shined in ‘Agassi (The Handmaiden)’. Therefore, this study attempted to investigate this feminist movie which has a lot of symbolic fine-art elements. For this, four symbolic characteristics of feminism expressed in ‘Agassi’ were chosen through analysis on previous studies, and 4 different nail styles were created, using diverse nail art techniques and materials. The study results confirmed that symbolic feminine elements expressed in films could make a contribution to new nail art with diverse motives.
6

Witkowska, Sylwia. "Polski feminizm - paradygmaty." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 194–241. http://dx.doi.org/10.5604/01.3001.0012.9855.

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The issue of feminist art struggles with a great problem. In my study I focus solely on Polish artists, and thus on the genealogy of feminist art in Poland. Although all the presented activities brought up the feminist thread, in many cases a dissonance occurs on the level of the artists’ own reflections. There is a genuine reluctance of many Polish artists to use the term “feminist” about their art. They dissent from such categorization as if afraid that the very name will bring about a negative reception of their art. And here, in my opinion, a paradox appears, because despite such statements, their creativity itself is in fact undoubtedly feminist. I think that Polish artists express themselves through their art in an unambiguous way – they show their feminine „I”. The woman is displayed in their statement about themselves, about the experiences, their body, their sexuality. Feminism defined the concept of art in a new way. The statement that art has no gender is a myth. The activities of women-artists are broader and broader, also in Poland women become more and more noticed and appreciated. Feminist art does not feature a separate artistic language, it rather features a tendency towards realism, lent by photography or video, which reflects the autonomy of the female reception of the world. It should be stated that feminism is a socially needed phenomenon, and its critique drives successive generations of women-artists.
7

Nwafor, Nkiruka Jane. "Engaging women’s social concerns through the twenty-first century feminist art projects of three Nigerian women artists." UJAH: Unizik Journal of Arts and Humanities 23, no. 1 (August 31, 2022): 134–60. http://dx.doi.org/10.4314/ujah.v23i1.5.

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In this paper, I review the histories of feminism and African feminism to highlight their influence on the evolving nature of women’s art practices in the West and Africa respectively. Women Artists in the West had begun deploying feminist rhetoric in their art at the onset of second-wave feminism of the 1960s. On the other hand, women in Africa began using their art to engender intellectual discourses on African feminist concerns as recently as the mid-1990s. Using the works of three Nigerian women artists, Ayobola Kekere-Ekun, Lucy Azubuike, and Fati Abubakar, I, therefore, explore how their themes challenge critical issues that affect women in Nigeria’s twenty-first-century contemporary realities. These artists are also from different geopolitical areas (west, east, and north respectively) in Nigeria. In analyzing their art, I also argue that their art may offer possibilities in affirming the relevance of African feminist art.
8

Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.

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Abstract:
When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
9

Ballard, Susan, and Agnieszka Golda. "Feminism And Art." Australian Feminist Studies 30, no. 84 (April 3, 2015): 199–210. http://dx.doi.org/10.1080/08164649.2015.1046713.

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10

Kamran, Sadia Pasha. "WOMEN, ART & POLITICS IN PAKISTAN: RETHINKING FEMINISM THROUGH FEMINIST ART." PEOPLE: International Journal of Social Sciences 5, no. 2 (September 26, 2019): 712–19. http://dx.doi.org/10.20319/pijss.2019.52.712719.

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You might also be interested in the extended bibliographies on the topic 'Feminism and art' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Feminism and art":

1

Wong, See-yuen Gina. "Global feminisms in feminist art and their new challenges." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38697245.

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Wong, See-yuen Gina, and 黃思源. "Global feminisms in feminist art and their new challenges." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38697245.

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3

Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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4

Reading, Christina. "Representing melancholy : figurative art and feminism." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/ae432ef0-fe07-4314-b972-11b50495534a.

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Re-presentations of women's melancholic subjectivity by women figurative artists from different historical moments, canonical images of melancholy and theoretical accounts of melancholy are brought together to address the question: 'What aspects of women's experience of melancholy have women figurative artists chosen to represent historically and contemporaneously, and further what is the importance of these artworks for understanding the nature of women's melancholic subjectivity today?
5

Chandler, Patricia Elaine. "Aesthetics of healing : joining feminism, autobiography and landscape /." Online version of thesis, 1993. http://hdl.handle.net/1850/11759.

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Wade, Bussey Sahirah Fatin. "Pre-Service Art Teachers and the Use of Feminist Curriculum and Pedagogy in the Art Classroom." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/18.

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The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.
7

Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.

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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.
8

Laurentiis, Gabriela Barzaghi De 1987. "Louise Bourgeois e os modos feministas de criar." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279680.

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Orientador: Luzia Margareth Rago
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-27T13:44:06Z (GMT). No. of bitstreams: 1 Laurentiis_GabrielaBarzaghiDe_M.pdf: 188718690 bytes, checksum: efdce2b517714ad07709da63f618f70c (MD5) Previous issue date: 2015
Resumo: Esta dissertação aborda a produção artística de Louise Bourgeois, focando as formas corporais trazidas em suas obras. Trata-se de perceber como sua arte possibilita elaborar críticas ao modelo falogocêntrico do feminino e, simultaneamente, abre possibilidades para a criação de formas múltiplas das subjetividades das mulheres. A produção de sentidos para as obras é realizada a partir de uma orientação teórica e metodológica feminista e pós estruturalista, apresentada, principalmente, nos escritos de Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago e Michelle Perrot
Abstract: This research addresses the artistic production of Louise Bourgeois, focusing on the corporal forms expressed in in her pieces. It pertains the perception of how her art enables the possibility to criticize the phallogocentric model of feminine and, simultaneously, allows the creation of multiple forms on the women subjectivity. The production of meanings for her works is accomplished trough a theoretical and methodological feminist and post structuralist orientation, presented, mainly, in the writings of Gilles Deleuze, Félix Guattari, Michel Foucault, Suely Rolnik, Rosi Braidotti, Norma Telles, Tania Swain, Margareth Rago and Michelle Perrot
Mestrado
Historia Cultural
Mestra em História
9

Ackerman, Amanda K. "Victor Burgin's "Gradiva": Feminism, Antiquity, and Conceptualism." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470672257.

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Eddy, Rebecca L. "A quest for art." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1185.

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Thesis (M.F.A.)--West Virginia University, 1999.
Title from document title page. Document formatted into pages; contains iii, 22 p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Books on the topic "Feminism and art":

1

Helena, Reckitt, and Phelan Peggy, eds. Art and feminism. London: Phaidon, 2001.

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Millner, Jacqueline, and Catriona Moore. Contemporary Art and Feminism. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175.

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Papas, Susan. Sexuality, art and feminism. London: Chelsea College of Art and Design, 2003.

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Isaak, Jo Anna. Feminism and Contemporary Art. London: Taylor & Francis Inc, 2004.

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M, Kokoli Alexandra, ed. Feminism reframed. Newcastle, UK: Cambridge Scholars Pub., 2008.

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Westen, Mirjam. Rebelle: Art & feminism, 1969-2009. Arnhem: Museum voor Moderne Kunst, 2010.

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Karen, Frostig, and Halamka Kathy A, eds. Blaze: Discourse on art, women and feminism. Newcastle, UK: Cambridge Scholars, 2007.

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Frostig, Karen, and Kathy A. Halamka. Blaze: Discourse on art, women and feminism. Newcastle: Cambridge Scholars, 2009.

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Karen, Frostig, and Halamka Kathy A, eds. Blaze: Discourse on art, women and feminism. Newcastle, UK: Cambridge Scholars, 2007.

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Bigwood, Carol. Earth muse: Feminism, nature, and art. Philadelphia: Temple University Press, 1993.

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Book chapters on the topic "Feminism and art":

1

Liclair, Christian. "Feminist Pleasures/Pleasurable Feminism." In Sexually Explicit Art, Feminist Theory, and Gender in the 1970s, 80–111. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003225614-4.

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Millner, Jacqueline, and Catriona Moore. "Feminist worlds." In Contemporary Art and Feminism, 204–36. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-6.

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McGrane, Caitlin. "Amplify Your Feminism." In The Routledge Companion to Mobile Media Art, 96–106. New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429242816-11.

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Millner, Jacqueline, and Catriona Moore. "Avant gardening." In Contemporary Art and Feminism, 168–203. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-5.

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Millner, Jacqueline, and Catriona Moore. "Feminism and the pedagogical turn in art." In Contemporary Art and Feminism, 85–128. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-3.

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Millner, Jacqueline, and Catriona Moore. "Beyond performing identities." In Contemporary Art and Feminism, 49–84. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-2.

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Millner, Jacqueline, and Catriona Moore. "From the politics of representation to a politics of acts." In Contemporary Art and Feminism, 13–48. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-1.

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Millner, Jacqueline, and Catriona Moore. "Introduction." In Contemporary Art and Feminism, 1–12. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-101.

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Millner, Jacqueline, and Catriona Moore. "Conclusion." In Contemporary Art and Feminism, 237–47. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-7.

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Millner, Jacqueline, and Catriona Moore. "Craftivism." In Contemporary Art and Feminism, 129–67. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003045175-4.

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Conference papers on the topic "Feminism and art":

1

Xin, Li. "Feminism in Susie Chao’s Sai Jinhua." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.151.

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Huang, Rui. "Feminism Discourse in Different Gender-Temperament Social Media." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.029.

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Hu, Zhenglun. "Review of Feminism Research and Analysis of Deviation in Contemporary Development." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.043.

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Hong, Chengxiaoyan, Yang Hong, Jiawen Li, and Qingyan Zhang. "The Issue that Feminism is Stigmatized on the Internet in China and Some Possible Solutions." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.036.

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Liu, Yaxin. "A Room of One’s Own in Suzhou: Analyzing the Dissemination of Woolf’s Feminism in China." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.137.

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Lei, Na. "The Pursuit of the Immortal Soul The Analysis of the Little Sea Maid under the Perspective of Feminism." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.188.

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Qiu, Zichang. "The Transformation of Women’s Art to Feminist Art in the 20 Century." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.032.

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Smolin, Lydia, and Katrin Wolf. "Who’s Watching? A feminist urban video installation." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.27.

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"The Characteristics and Performance of Feminist Art at the Present Stage." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.40.

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Man, Zhihui. "Research on American Feminist Literary Criticism." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.256.

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Reports on the topic "Feminism and art":

1

Hicks, Jacqueline. Feminist Foreign Policy: Contributions and Lessons. Institute of Development Studies (IDS), August 2021. http://dx.doi.org/10.19088/k4d.2021.110.

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A relatively small number of countries have an explicit “Feminist Foreign Policy” (FFP). Those most often cited are Sweden, Canada, France, Mexico, and Spain. In theory, an FFP moves beyond gender mainstreaming in foreign development assistance to include: (1) a wider range of external actions, including defence, trade and diplomacy (2) a wider range of marginalised people, not just women. Within foreign development assistance, it implies a more coherent and systematically institutionalised approach to gender mainstreaming. In practice, those countries with an explicit FFP implement it in different ways. Canada currently focuses on development assistance, France on development assistance and formal diplomacy, Sweden more comprehensively covers the trade and defence policy arenas. Mexico and Spain are yet to produce detailed implementation plans. There is increasing academic interest in FFP, but most analyses found during the course of this rapid review focus on narrative content of policies rather than impact. Policy advocacy and advice is provided by several high-profile advocacy organisations. National government agencies in Sweden, France and Canada have produced some evaluations of their FFP, but the evidence is weak. There are many international institution evaluations of gender mainstreaming for many different sectors that are context-specific.
2

Woolson Neville, Diane, and Helen Gremillion. Experiencing Women’s Advocacy: Connections with and Departures from a Feminist Socio-Political Movement to end Violence Against Women. Unitec ePress, August 2015. http://dx.doi.org/10.34074/rsrp.032.

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This article examines how contemporary women’s advocates working in New Zealand with women experiencing intimate partner violence regard their work and how these experiences both connect with and depart from a feminist movement to end violence against women. Ten women’s advocates from ten different organisations were interviewed two times. The first interviews involved participants commenting on vignettes about hypothetical cases of intimate partner violence. The second interviews weresemi-structured and involved discussions about participants’ work and wider thoughts on the phenomenon of intimate partner violence. Interviews were analysed using Interpretative Phenomenological Analysis to identify key themes within participants’ interviews. Analysis indicated an alignment with international research illustrating an erosion of feminist perspectives in advocacy work. At the same time, it revealed areas of enduring feminist influence. Findings, therefore, suggest that the relationship between advocacy and the feminist movement to end violence against women is complicated and contradictory. Implications for further research directions are considered.
3

Woolson Neville, Diane, and Helen Gremillion. Experiencing Women’s Advocacy: Connections with and Departures from a Feminist Socio-Political Movement to end Violence Against Women. Unitec ePress, August 2015. http://dx.doi.org/10.34074/rsrp.032.

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Abstract:
This article examines how contemporary women’s advocates working in New Zealand with women experiencing intimate partner violence regard their work and how these experiences both connect with and depart from a feminist movement to end violence against women. Ten women’s advocates from ten different organisations were interviewed two times. The first interviews involved participants commenting on vignettes about hypothetical cases of intimate partner violence. The second interviews weresemi-structured and involved discussions about participants’ work and wider thoughts on the phenomenon of intimate partner violence. Interviews were analysed using Interpretative Phenomenological Analysis to identify key themes within participants’ interviews. Analysis indicated an alignment with international research illustrating an erosion of feminist perspectives in advocacy work. At the same time, it revealed areas of enduring feminist influence. Findings, therefore, suggest that the relationship between advocacy and the feminist movement to end violence against women is complicated and contradictory. Implications for further research directions are considered.
4

Woolson Neville, Diane, and Helen Gremillion. Experiencing Women’s Advocacy: Connections with and Departures from a Feminist Socio-Political Movement to end Violence Against Women. Unitec ePress, August 2015. http://dx.doi.org/10.34074/rsrp.032.

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Abstract:
This article examines how contemporary women’s advocates working in New Zealand with women experiencing intimate partner violence regard their work and how these experiences both connect with and depart from a feminist movement to end violence against women. Ten women’s advocates from ten different organisations were interviewed two times. The first interviews involved participants commenting on vignettes about hypothetical cases of intimate partner violence. The second interviews weresemi-structured and involved discussions about participants’ work and wider thoughts on the phenomenon of intimate partner violence. Interviews were analysed using Interpretative Phenomenological Analysis to identify key themes within participants’ interviews. Analysis indicated an alignment with international research illustrating an erosion of feminist perspectives in advocacy work. At the same time, it revealed areas of enduring feminist influence. Findings, therefore, suggest that the relationship between advocacy and the feminist movement to end violence against women is complicated and contradictory. Implications for further research directions are considered.
5

Batliwala, Srilatha. Transformative Feminist Leadership: What It Is and Why It Matters. United Nations University International Institute of Global Health, December 2022. http://dx.doi.org/10.37941/rr/2022/2.

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The words of ancient Chinese philosopher Lao Tsu make the simplest, yet most profound, case for transformation – a change of direction, a fundamental shift in the nature or character of something, recasting the existing order and ways of doing things. This is what the world needs now, as institutions and systems of the past century prove unable to address the challenges of impending planetary disaster, persistent poverty, pandemics, rising fundamentalism and authoritarianism, wars, and everyday violence. Against a background of a worldwide backlash against women’s rights, gender parity in leadership positions – in legislatures, corporations, or civil society – has proved inadequate, as women in these roles often reproduce dominant patriarchal leadership models or propagate ideologies and policies that do not actually advance equality or universal human rights. What is required is truly transformative, visionary leadership, whereby new paradigms, relationships and structures are constructed on the basis of peace, planetary health, and social and economic justice.
6

Wroblewski, Angela, Bente Knoll, Barbara Pichler, Elisabeth Reitinger, Birgit Hofleitner, Barbara Egger, Victoria Englmaier, Peter Koller, and Arn Sauer. Chancen feministischer Evaluation. Methodische Herausforderungen bei der Evaluation von Gender Mainstreaming und Gleichstellungspolitiken. Working Paper 119. Edited by Angela Wroblewski. IHS - Institute for Advanced Studies, May 2018. http://dx.doi.org/10.22163/fteval.2018.502.

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Studies in the context of gender mainstreaming, gender equality policy or feminist issues often face specific challenges in connection with the empirical approach. The Gender Mainstreaming Working Group (AK GM) of the German Evaluation Society (DeGEval) focused on the choice of adequate methods and research designs for the evaluation of gender mainstreaming measures, gender equality policies and feminist evaluation at its spring conference 2017, which took place at the IHS on 11 May 2017 and is documented in this volume.
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Barakat, Sarah, Alexia Pretari, and Jaynie Vonk. Centring Gender and Power in Evaluation and Research: Sharing experiences from Oxfam GB's quantitative impact evaluations. Oxfam GB, July 2021. http://dx.doi.org/10.21201/2021/7789.

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Bringing a feminist intent to research, monitoring and evaluation practices leads to defining these as tools to contribute to transforming the lives of women, girls and non-binary people, and to bringing about social justice. This has meant putting gender and power at the centre of our practice, which has in turn shaped the technical choices made specifically in quantitative impact evaluations. This paper focuses on describing how these technical choices, as well as ethical considerations, are changed by this feminist intent. The paper also presents the lessons learned and questions raised along the way, which may be useful for MEAL and research practitioners, as well as programme managers. How can we bring intersectionality to the fore? What does it mean to go beyond the gender binary? How can this work be transformative?
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Ceia, Vanessa, Benji Nothwehr, and Liz Wagner. Gender and Technology: A rights-based and intersectional analysis of key trends. Oxfam, May 2021. http://dx.doi.org/10.21201/2021.7598.

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This report employs an intersectional feminist framework to identify and analyze key trends related to gender and technology. It aims to provide a holistic picture of how gender and technology are embedded in and influenced by a myriad of intersecting issues and challenges that complicate how ICT for development (ICT4D) initiatives concretely impact women’s lives. Based on synthesized research, the report provides recommendations for relevant stakeholders on how to approach the field of international development using technology as a tool for social good in ways that benefit the most marginalized members of our global community.
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Davies, Imogen, Anam Parvez Butt, Thalia Kidder, and Ben Cislaghi. Social Norms Diagnostic Tool: Young Women's Economic Justice. Oxfam, December 2021. http://dx.doi.org/10.21201/2021.8427.

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The tool’s methodology is rooted in a feminist and youth-led participatory action research approach to diagnosing social norms. It uses participatory and transformative methods to engage young people and other community members not just as research participants, but as agents of change identifying solutions to arising issues. The exercises recognize and examine unequal power inequalities through questions around who makes key decisions, whose opinions matter the most, who the most influential people are and the nature of their influence. hese exercises were developed for Oxfam’s Empower Youth for Work (EYW) programme for primary research from 2017-2019. This version of the tool was originally developed for use in the EYW programme in Bangladesh.
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OSETROVA, O., A. STOKOLYAS, and D. KHUSAINOVA. CHARACTERISTIC ASPECTS OF TRANSLATING ROMANCE NOVELS. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-94-103.

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Peculiarities of translating romance novels are considered in the article. Examples from the novel by Kristan Higgins “Too good to be true” are given in order corresponding to their manifestation in the book. Special attention is given to the translation of realities. The main translation techniques used are transliteration and transcription, calquing, and combinations (concerning onomastic realities), descriptive translation and approximation (concerning everyday realities and associations). Besides, it is mentioned, that gender dimension is extremely pragmatically valid in the context of other stylistic and grammatical aspects of the text. The authors make a conclusion of dynamic changes in speech stereotypes towards blurring gender lines between masculine and feminine speech behavior. It is important to consider this fact when translating romance novels.

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