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Journal articles on the topic 'Women's art and craft'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Portisch, Anna Odland. "The craft of skilful learning: Kazakh women's everyday craft practices in western Mongolia." Journal of the Royal Anthropological Institute 16 (May 2010): S62—S79. http://dx.doi.org/10.1111/j.1467-9655.2010.01610.x.

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2

Liddle, Jeannine L. M., Lynne Parkinson, and David W. Sibbritt. "Purpose and pleasure in late life: Conceptualising older women's participation in art and craft activities." Journal of Aging Studies 27, no. 4 (December 2013): 330–38. http://dx.doi.org/10.1016/j.jaging.2013.08.002.

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3

Hedges, Elaine. "Quilts and Women's Culture." Radical Teacher 100 (October 9, 2014): 10–14. http://dx.doi.org/10.5195/rt.2014.148.

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My interest in women's needlework, and especially quilts, began with a course I team-taught several years ago on women's art and literature. Because those of us teaching the course were concerned to break down class and race barriers, and distinctions between "high" and "low" art, or crafts, as well as distinctions between art and work, we were especially interested in women's needlework, as a form of activity that is universal ‒ not confined to any one class or race ‒ and that has combined the practical with the esthetic or artistic. It has always been necessary for women to sew, and, wherever and whenever extra time and energy have allowed, sewing has become "esthetic," in the sense of giving expression to an artistic impulse, providing its practitioners with an outlet for their creativity.

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4

Sari Wulandari, Guntur, and Martinus Dwi Marianto. "RajutKejut Art: Participatory Knitting Installation Artwork in Public Spaces." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 69–75. http://dx.doi.org/10.33153/iicacs.v2i1.17.

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RajutKejut Community is a knitted women's community since 2014 carrying out yarn bombings, wrapping large objects in Jakarta's public spaces with knits. Citizens can see, feel and interact sensually so that the work and community become close to the public. People who often raise social problems become a discourse of work following the cultural context of the people of Jakarta. The research question is how the shape of RajutK shock's artworks. The purpose of this study is to find alternative art forms using creative media. This study uses qualitative methods through observation, interviews, literature studies, and document reviews. This analysis uses the Norman Fairclough critical discourse analysis method. The choice of method is to find the RajutK shock art form by searching for the relationship between the micro text and the macro context of society. The conclusion of the research shows that RajutK shock's works are contemporary works of art, art that still explores discourse in the realm of style. Today, RajutK Shock is a combination of installation art, participatory art, knitting craft, pop art and street art.

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Milspaw, Yvonne J., and Geraldine Niva Johnson. "Weaving Rag Rugs: A Women's Craft in Western Maryland." Journal of American Folklore 99, no. 393 (July 1986): 355. http://dx.doi.org/10.2307/540833.

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6

Wadende, Akinyi. "Chwuech: Sustained Art Education among Luo Women of Western Kenya." Journal of Adult and Continuing Education 17, no. 2 (November 2011): 5–19. http://dx.doi.org/10.7227/jace.17.2.3.

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This article presents the findings of a qualitative study on the Bang jomariek, a women's group in West Reru in Western Kenya who engage in the production of indigenous arts and crafts (pots, baskets, and architecture) to generate income and explore politics, medicine, and other matters that affect them and their community. The women shared their motivations for engaging in the production of these art forms and the characteristics of these educational processes and their environment. I highlight the transformative experience on their lives as a result of the arts and crafts-based adult education work. This article is significant to feminist and anti-colonial adult education as it stresses the importance of processes, potential, and goals of an African indigenous creative education amongst rural women.

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7

Пташкина, Г. М., О. В. Кузнецова, and В. А. Степанов. "Novice Craft and Technology Teachers’ Competence Formation through Research Activities." Психолого-педагогический поиск, no. 2(58) (July 9, 2021): 78–91. http://dx.doi.org/10.37724/rsu.2021.58.2.007.

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В статье раскрыта роль предмета «Технология» для школьников и студентов не только в формировании соответствующих навыков и умений в области материаловедения, трехмерного проектирования и технологий изготовления женской одежды, но и развития творческих способностей и активности. Описаны процессы воссоздания древнерусского исторического костюма; поиска и освоения новых материалов (домотканый лен), технологии шитья и порядок сборки (соединения) деталей; конструирования платья из коллекции красивой женской одежды «Рязанская акварель» для различных возрастных групп; последовательность процессов и технология, включая инструменты и приспособления (набивная доска, молоток и др.) художественной обработки тканей набойкой. Представлены результаты деятельности студентов — будущих учителей, обучающихся по направлению «Педагогическое образование» (профиль «Технология и физика»), по реконструкции и изготовлению древнерусского женского костюма Старой Рязани; конструированию нарядного женского платья из коллекции «Рязанский аквариум»; художественной обработке (набойкой) тканей и изделий из них; использованию «бросовых» (бумага, фольга, картон, пластиковая и стеклянная тара) конструкционных материалов для декоративно-прикладного творчества. Приведены фрагменты тканей и платьев, изготовленных студентами. Сформированные у студентов компетенции в области материаловедения, трехмерного проектирования и технологий изготовления женской одежды могут быть успешно использованы ими в будущей педагогической деятельности в школе при организации образовательного процесса по технологии швейного дела, кружков и внеурочной деятельности, а также осуществлении исследовательских проектов с одаренными учащимися. The article treats the craft and technology education curriculum in secondary and higher education institutions. It treats the role of the subject both in the development of creative abilities and in the formation of skills required for 3d-modelling, women’s clothes designing. The article describes the process of creating old-Russian historical costumes, the process of searching for new materials (homespun linen) the technology of modelling, designing, and sewing of articles from the collection of female clothing “Ryazan aquarelle” for different age groups, tools and equipment (wooden board, hammer, etc.) required for hammer printing. The article presents old-Russian traditional women’s clothing (Old Ryazan) made by students, novice Craft, Technology and Physics teachers. It also presents a dress form the “Ryazan aquarium” collection. It deals with hammer printing and the use of such materials as paper, foil, cardboard, plastic and glass for art and craft activities. It presents fabrics and clothing made by students. Students’ competencies of 3d-modelling, women’s clothes designing and their knowledge of fabrics and materials can be successfully used in classroom activities, extracurricular activities and research work with gifted students.

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8

Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.

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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.

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9

Thompson, Lynne. "The Promotion of Agricultural Education for Adults: The Lancashire Federation of Women's Institutes, 1919–45." Rural History 10, no. 2 (October 1999): 217–34. http://dx.doi.org/10.1017/s0956793300001795.

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A recent article in Rural History illustrated how the Women's Institutes between the wars Were influenced by contemporary feminism. The argument of the article was that in seeking to change the material condition and status of countrywomen, and in effect, emulating craft trades union strategies, the WI movement sought to alter perceptions of women's labour in the home by enhancing their skills, encouraging co-operative endeavour and promoting an ‘active domesticity’. Furthermore, the domestic arena was extended to cover all aspects of rural life related to the home, garden, farm or allotment.However, as time passed between the wars, less interest was shown in agricultural work outside the home, and, as Morgan states elsewhere, the agricultural ‘side’ of the movement became ‘severely diminished’. Whilst one might not seriously quarrel with this statement with reference to some periods of WI history, it is, nevertheless, a somewhat reductive approach to have taken when considering the interwar period. During that time, there is evidence to suggest that in some regions at least, WI members maintained more than a passing interest in agriculture per se. This was not simply in relation to the production and preservation of food, but rather as a means of maintaining the influence of women in rural policy making. This interest can be best detected in the educational sphere, from the promotion of classes in a wide range of agricultural activities and demonstrations at agricultural and horticultural shows, to WI membership of local agricultural education committees. Furthermore, the National Federation of Women's Institutes (NFWI) fought in many ways to maintain the agricultural ‘side’ of the movement because it was an integral part of its wider mission to educate countrywomen, particularly those who were destined to live and work in the Empire

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10

Shercliff, Liz. "Towards a New Homiletic." Feminist Theology 29, no. 1 (September 2020): 48–60. http://dx.doi.org/10.1177/0966735020944894.

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Feminism’s contribution to homiletics so far has arguably been restricted to exploring gender difference in preaching. In 2014, however, Jennifer Copeland identified a need not merely to ‘include women “in the company of preachers” but to craft a new register for the preaching event’. This article considers what that new register might be and how it might be taught in the academy. It defines preaching as ‘the art of engaging the people of God in their shared narrative by creatively and hospitably inviting them into an exploration of biblical text, by means of which, corporately and individually, they might encounter the divine’ and proposes that in both the Church and the Academy, women’s voices are suppressed by a rationalist hegemony. For the stories of women to be heard, a new homiletic is needed, in which would-be preachers first encounter themselves, then the Bible as themselves and finally their congregation in communality. Findings of researchers in practical preaching discover that women preachers are being influenced by feminist methodology, while the teaching of preaching is not. In order to achieve a hospitable preaching space, it is proposed that the Church and the Academy work together towards a new homiletic.

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11

Gardner, Viv. "Irene Cockroft and Susan Croft Art, Theatre, and Women's SuffrageTwickenham: Aurora Metro Press, 2010. 124 p. £7.99. ISBN: 978-1-90658-208-1." New Theatre Quarterly 28, no. 1 (January 31, 2012): 103. http://dx.doi.org/10.1017/s0266464x12000164.

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12

NEAPOLITAN, JERRY. "Art, Craft, and Art/Craft Segments among Craft Media Workers." Work and Occupations 13, no. 2 (May 1986): 203–16. http://dx.doi.org/10.1177/0730888486013002002.

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13

Mounce, H. O. "ART AND CRAFT." British Journal of Aesthetics 31, no. 3 (1991): 230–40. http://dx.doi.org/10.1093/bjaesthetics/31.3.230.

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14

Curtis, Cassidy. "Art and Craft." Imagine 5, no. 5 (1998): 4–6. http://dx.doi.org/10.1353/imag.2003.0100.

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15

Wyk, Tembeka Nkamba-Van. "Beadwork: Ancient Craft, Women's Medium." Agenda, no. 31 (1996): 50. http://dx.doi.org/10.2307/4066263.

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16

Montant, Mary, Peter Hollywood, Deirdre Madden, Aidan Mathews, Melissa Murray, Eilís Ní Dhuibhne, and Glenn Patterson. "Sullen Craft or Art?" Irish Review (1986-), no. 5 (1988): 118. http://dx.doi.org/10.2307/29735395.

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17

Takane, Yoshio. "Statistics: Art or craft?" Journal of Mathematical Psychology 32, no. 2 (June 1988): 205–7. http://dx.doi.org/10.1016/0022-2496(88)90046-6.

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18

Taruskin, Richard F. "Stravinsky's Art and Craft." Musical Times 129, no. 1746 (August 1988): 385. http://dx.doi.org/10.2307/965955.

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19

Lufiani, Alvi, Setiawan Sabana, and Achmad Haldani. "Aesthetics and functions of craft art in public art space." Harmonia: Journal of Arts Research and Education 17, no. 1 (August 15, 2017): 41. http://dx.doi.org/10.15294/harmonia.v17i1.9399.

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<p>The problem in this research is about how to assess the aesthetics and functions of craft art in Indonesian city public space compare to other cities in other countries. It is also about how these craft arts can be used to improve the aesthetics and strength a city’s identity. Approaches used in this research are aesthetic theory and sociology of art. Aesthetic theory is used to assess the craft art textually or intra aesthetics. Sociology of art theory is used to see how craft art role can fulfil its function as a medium for craftsperson to participate in creating an art work that is useful to the society, so the existence of craft art in public space can give positive impacts towards the urban society. Results of this research is a positive impact of the craft art existence in some Indonesian public places where craft art becomes a city icon or identity with a special symbol attached to it; as a sign of historical or contemporary works. It also creates the aesthetics of a city design to be more humanist and healthy for all citizens.</p>

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20

Darrup, Cathy C., and Betty LaDuke. "Africa: Women's Art, Women's Lives." African Arts 32, no. 2 (1999): 89. http://dx.doi.org/10.2307/3337612.

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21

Kirchen, Anita. "Africa: Women's Art, Women's Lives." Women's Studies International Forum 23, no. 2 (March 2000): 260–61. http://dx.doi.org/10.1016/s0277-5395(00)00079-0.

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22

White, Gary. "Teaching: Art, craft, science? Yes!" Physics Teacher 52, no. 6 (September 2014): 328. http://dx.doi.org/10.1119/1.4893083.

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ЦАРЁВ, А. П. "FAST ALGORITHMS: SCIENCE, ART, CRAFT." Transport development, no. 1(1) (September 27, 2017): 5–11. http://dx.doi.org/10.33082/td.2017.1-1.01.

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State contains the results of a study of the specifics, possibilities and advantages of fast algorithms. This paper focuses on the description of the proposed approach for the development of fast algorithms using vector-matrix operations.

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Whiteford, Rhona. "Art and craft for Easter." Practical Pre-School 2005, no. 50 (March 2005): 1. http://dx.doi.org/10.12968/prps.2005.1.50.39945.

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Gale, Richard A., and Lloyd Bond. "Assessing the Art of Craft." Journal of General Education 56, no. 2 (2007): 126–48. http://dx.doi.org/10.1353/jge.2007.0019.

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Zoran, Amit. "Hybrid Craft: Art Gallery Curator." Leonardo 48, no. 4 (August 2015): 382–83. http://dx.doi.org/10.1162/leon_a_01092.

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27

Zurovac, Mirko. "Art, nature, science, craft, technique." Kultura, no. 161 (2018): 305–16. http://dx.doi.org/10.5937/kultura1861305z.

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28

Cattrysse, Patrick. "Screenwriting: Between Art and Craft." Palabra Clave 24, no. 2 (May 24, 2021): 1–11. http://dx.doi.org/10.5294/pacla.2021.24.2.5.

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This paper discusses the teaching of screenwriting and storytelling in terms of art and craft. It argues that since Romanticism established itself in the 19th century as the dominant Western view on art and culture, it has driven a wedge between people’s notions of art and craft, promoting the former and demoting the latter. This rift has impeded the teaching of screenwriting and storytelling in general. Following this, art historians and sociologists of art have suggested developing a “third system of art,” one that reintegrates the artist and the artisan, the art and craft-based values. This essay develops the basic tenets of a “technical approach” to the teaching of screenwriting. This technical approach sits in-between a Romantically biased “free-wheeling” approach and a mechanistic, “rule-based” approach. It is argued that a technical approach to screenwriting or storytelling could help materialize such a “third system of art” and benefit the practice, teaching, and study of screenwriting and storytelling.

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Bubnovene, O. D., and N. G. Svatkova. "Реконструкция украшений могильника Киняминский II." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 11–20. http://dx.doi.org/10.46748/arteuras.2020.04.001.

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The article is devoted to an issue that has not received sufficient coverage in the scientific literature — the artistic reconstruction of the Ugric jewelry in the middle ages. The methods and stages of experimental artistic reconstruction of women's ornaments of temporal rings and noisy suspensions of the Kinyaminsky II burial ground (Surgut region, Khanty-Mansi Autonomous Okrug — Ugra) are described. In accordance with the research objectives, the graphic reconstruction of jewelry made by V.I. Semenova was studied, and the analysis of Ugra Museum collections was carried out based on materials, technological methods of execution, size, and shape. 158 items of women's jewelry were studied: ordinary simple bracelet-like rings, single-bead; two-bead, three-bead, multi-bead, four- and five-lobed, zoomorphic with the image of stylized figures of the beast; as well as numerous elements and fragments of the temporal rings (XII-XVI centuries). The comparison revealed the differences in the graphic reconstruction of V.I. Semyonova from the studied items of museum collections in the structure of the arched base-shield. A graphic reconstruction of the temporal rings from the Kinyaminsky II burial ground was performed, followed by an experimental reconstruction in the material. The research results are significant in the context of the study of ethnocultural processes, as well as the development of techniques of arts and crafts, the formation of traditions of folk art. Статья посвящена вопросу, который не получил достаточного освещения в научной литературе, — художественной реконструкции накосных украшений угров в Средние века. Описаны методы, этапы экспериментальной художественной реконструкции женских украшений височных колец, шумящих подвесок могильника Киняминский II (Сургутский район, Ханты-Мансийский автономный округ — Югра). В ходе исследования была изучена графическая реконструкция украшений, выполненная В.И. Семеновой, проведен анализ музейных коллекций Югры по материалам, технологическим приемам исполнения, размерам, форме. Изучено 158 единиц женских украшений: обычные простые браслетообразные кольца, однобусинные; двухбусинное, трехбусинные, многобусинные, четырех- и пятилопастные, зооморфные с изображением стилизованных фигур зверя; а также многочисленные элементы и осколки височных колец (XII–XVI вв.). В ходе исследования выявлены отличия графической реконструкции В.И. Семеновой от исследованных украшений музейных коллекций в строении арочной основы-щитка. Выполнена графическая реконструкция височных колец из могильника Киняминский II, затем проведена экспериментальная реконструкция в материале. Результаты исследования значимы в контексте изучения этнокультурных процессов, а также развития техник декоративно-прикладного творчества, формирования традиций народного искусства.

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Platt, Louise C. "Crafting place: Women’s everyday creativity in placemaking processes." European Journal of Cultural Studies 22, no. 3 (September 8, 2017): 362–77. http://dx.doi.org/10.1177/1367549417722090.

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Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited.

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Edwards, Steven D. "The Art of Nursing." Nursing Ethics 5, no. 5 (September 1998): 393–400. http://dx.doi.org/10.1177/096973309800500503.

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This article discusses the question of whether, as is often claimed, nursing is properly described as an art. Following critical remarks on the claims of Carper, Chinn and Watson, and Johnson, the account of art provided by RG Collingwood is described, with particular reference to his influential distinction between art and craft. The question of whether nursing is best described as an art or a craft is then discussed. The conclusion is advanced that nursing cannot properly be described as an art, given acceptance of Collingwood’s influential definition of art. Moreover, it is shown that, due to difficulties inherent in specifying the ‘ends’ of nursing, nursing is only problematically described as a craft.

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32

Thomas, Zoë. "Between Art and Commerce: Women, Business Ownership, and the Arts and Crafts Movement*." Past & Present 247, no. 1 (April 29, 2020): 151–96. http://dx.doi.org/10.1093/pastj/gtz071.

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Abstract In art-historical works and social and cultural histories the Arts and Crafts movement is portrayed as an anti-commercial design reform movement that revolved around the workshops of a cadre of elite male ‘craftsmen’. But a confluence of elements during this era — developments in print culture; urbanization; mass consumerism; the women’s movement; reactions against industrialization; widespread interest in medievalism and domestic crafts — created an environment in which many more people became involved in the movement than is traditionally recognized. This research offers the first history of the emergence of women’s ‘artistic’ businesses across England, c.1870–1939. The article argues that the persistent focus on institutional hierarchies in histories of skilled work has led to a failure to consider the importance of rhetorical self-fashioning and the built environment in the construction of new cultural roles. Engrained disciplinary divides have also led to discrete bodies of scholarship on the history of artistic culture, ‘professional society’ and business ownership, which belie the interwoven nature of these categories in lived experience. Tracing the gendered strategies implemented by women business owners ultimately reveals their democratization of the movement to incorporate greater reception of domestic consumerism, ‘popular’ culture, and a wider range of incomes and interests.

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33

Markowitz, Sally J. "The Distinction between Art and Craft." Journal of Aesthetic Education 28, no. 1 (1994): 55. http://dx.doi.org/10.2307/3333159.

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34

Joubert, Annekie. "Religious imaginations in embroidered craft art." South African Journal of African Languages 33, no. 1 (March 2013): 11–18. http://dx.doi.org/10.2989/02572117.2013.793934.

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35

AMES-LEWIS, F. "Originality and the Art of Craft." Oxford Art Journal 20, no. 2 (January 1, 1997): 82–84. http://dx.doi.org/10.1093/oxartj/20.2.82.

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36

Granrose, John T. "The Art and Craft of Teaching." Teaching Philosophy 8, no. 2 (1985): 188–89. http://dx.doi.org/10.5840/teachphil19858250.

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Brayham, Angela. "Extra/ordinary: Craft and contemporary art." Visual Studies 27, no. 2 (June 2012): 213. http://dx.doi.org/10.1080/1472586x.2012.642972.

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Mokhtar, Mumtaz. "ART AND CRAFT IN THE ERA OF CREATIVE INDUSTRY IN MALAYSIA." Ars: Jurnal Seni Rupa dan Desain 21, no. 2 (August 27, 2018): 157–68. http://dx.doi.org/10.24821/ars.v21i2.2885.

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Abstract:

Malaysia is targeted to become a developed county in the year 2020. This paper aims to establish an ideology that craft is a high art creation that deals with intellectual, careful and meaningful output. In order to develop an inclusive framework about art and craft, this paper reviews the development of craft and art in Malaysia. The epistemological discussion on the definition of art and craft will offer a fresh spectacle on art and craft as elements that can ensure the success of the creative industry. The combination of art, craft and Malay aesthetics provides more clues on how the creative industry can go about. In addition, several initiatives from Malaysia are presented due to illustrate how Malaysia engineered the country towards 2050. Creative industries in Malaysia have a very high potential to be developed and should supported by the government as well as the private sector. This researcher believes that active and dynamic collaboration, new media exploration, cross discipline and innovation will be the crucial issues to be considered in the development of art and craft in the era of creative industry.

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Pöllänen, Sinikka Hannele. "Beyond craft and art: A pedagogical model for craft as self-expression." International Journal of Education Through Art 7, no. 2 (July 12, 2011): 111–25. http://dx.doi.org/10.1386/eta.7.2.111_1.

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Gouma-Peterson, Thalia, Patricia Mathews, Roszika Parker, and Griselda Pollock. "Art for Women's Sake." Women's Review of Books 5, no. 6 (March 1988): 21. http://dx.doi.org/10.2307/4020282.

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Lauter, Estella, Gisela Ecker, and Harriet Anderson. "Art for Women's Sake." Women's Review of Books 4, no. 6 (March 1987): 17. http://dx.doi.org/10.2307/4020081.

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Vincentelli, Moira. "Women's Art in Wales." Woman's Art Journal 7, no. 1 (1986): 52. http://dx.doi.org/10.2307/1358247.

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Merialdi, Mario, Jennifer A. Harris Requejo, and Aldo Campana. "Art for women's health." Lancet 368, no. 9553 (December 2006): 2113–14. http://dx.doi.org/10.1016/s0140-6736(06)69642-6.

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HuhRaKeum. "Craft Industrialization and Women's Empowerment in Asian Developing Countries." Korean Feminist Philosophy 15, no. ll (June 2011): 67–93. http://dx.doi.org/10.17316/kfp.15..201106.67.

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Lindquist, Hans, and Sidney I. Landau. "Dictionaries: The Art and Craft of Lexicography." Language 61, no. 3 (September 1985): 709. http://dx.doi.org/10.2307/414404.

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Diers, Donna. "Learning the Art and Craft of Nursing." American Journal of Nursing 90, no. 1 (January 1990): 64. http://dx.doi.org/10.2307/3426230.

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Hartmann, Reinhard, and Sidney I. Landau. "Dictionaries: The Art and Craft of Lexicography." Modern Language Review 97, no. 1 (January 2002): 255. http://dx.doi.org/10.2307/3735704.

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Gardiner, Tony, and Paul Zeitz. "The Art and Craft of Problem Solving." Mathematical Gazette 84, no. 499 (March 2000): 158. http://dx.doi.org/10.2307/3621534.

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Gill, David. "Art and vases vs. craft and pots." Antiquity 67, no. 255 (June 1993): 452–55. http://dx.doi.org/10.1017/s0003598x00045579.

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Bailey, Susan Pritchard. "The Art & Craft of Case Writing." Library & Information Science Research 24, no. 2 (January 2002): 197–99. http://dx.doi.org/10.1016/s0740-8188(02)00113-5.

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