Academic literature on the topic 'Women's domestic crafts'
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Journal articles on the topic "Women's domestic crafts"
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Subiyantoro, Slamet. "Women's Roles In Adding Value To Wooden Crafts And Contributing To Family Income In Babung, Gunungkidul." Jurnal Humaniora 33, no. 2 (July 31, 2021): 135. http://dx.doi.org/10.22146/jh.59182.
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Gender discrimination continues to exist in the Special Region of Yogyakarta, with women often placed in the role of mother and housekeeper. In areas such as Bobung Village, where they form an integral part of the local industry, women transcend these roles to contribute to the economy. This research aimed to examine women's roles in adding to the artistic value of wooden crafts, their impact on increasing family income, and local community members’ views towards these female roles. The research was socio-anthropological, with data obtained through in-depth interviews, participant observations, and content analyses of documents and records. Data were analyzed using an interactive model including data collection, reduction of presentation, and verification. The findings showed that (1) women play a significant role in improving the artistic value of wooden crafts through their batik painting and writing techniques. They make these crafts appear more exotic, and help to preserve traditional batik motifs. (2) With the addition of these women’s motifs to wooden crafts, they add to their family income while still performing their domestic duties, such as caring for their children and cooking. Their wages are based on a daily system, collective system, or combination of both. (3) Batik-making on wooden crafts has feminine characteristics; it is soft and light, as opposed to woodworking’s masculine characteristics of hard, physical work. Women’s batik-making is consequently complementary to the work performed by men. According to the local people, there is no gender bias related to the job differentiation between men and women.
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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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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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Sweet, Paige L. "The Paradox of Legibility: Domestic Violence and Institutional Survivorhood." Social Problems 66, no. 3 (May 29, 2018): 411–27. http://dx.doi.org/10.1093/socpro/spy012.
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AbstractExisting literature has demonstrated that victims of domestic violence and rape undergo processes of discipline when they interact with legal structures, transforming themselves into “worthy victims.” Intervening in this literature, I show how the medicalization of institutions surrounding domestic violence creates conditions under which women must prove their survivorhood, performing psychological recovery to achieve institutional legibility. Legal and therapeutic institutions create a matrix of demands on women’s lives, shaping their practices of survival and performances of self. Through interviews with domestic violence survivors, I show that women engage three strategies of transformation to make themselves credible survivors: (1) extracting domestic violence from their life stories; (2) explaining abuse through “self-esteem;” (3) performing survivorhood through “respectable” motherhood and sexuality. Through these processes, women craft a domestic violence narrative and an institutional performance of survivorhood, both of which allow them to navigate institutional pressures. These therapeutic narratives and performances, however, also rewrite the structural elements of violence into (feminized) accounts of psychological failure and overcoming. Thus, women navigate a paradox when they become survivors: they must tell stories of psychological recovery, even as those stories obfuscate the very infrastructure of violence. It is this disjuncture between individualized narratives of harm and the structural work of survival that I examine in this work. I develop the concept of the “paradox of legibility” to generalize this disjuncture, and to highlight women’s labor of making themselves credible amidst structural and institutional constraints.
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Gimbatova, M. B., and M. K. Musaeva. "TRANSFORMATION OF ECONOMIC SPECIALIZATION OF DAGESTAN PEOPLES: GENDER ASPECT." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 89–96. http://dx.doi.org/10.32653/ch13489-96.
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Economic specialization of the peoples of Dagestan was conditioned by natural environment and it influenced the process of social differentiation of labor, thus, most peoples consider all kinds of work connected with agriculture and cattle breeding to be men’s occupations, and household chores and most domestic crafts (spinning, production of carpets, palaces, woolen cloth, cotton and silk fabrics, linen, felting, bagging, making of woolen socks, stockings and outdoor woolen footwear) to be women’s occupations. Men’s crafts were sheepskin processing and metalwork. In the mountainous area, there was no strict gender differentiation of labor, as women’s labor was used quite widely, and independence of women was conditioned by men’s leaving for seasonal work. The traditional regulation of the gender differentiation of labor, adopted in the pre-revolutionary Dagestan society, has gradually lost its positions. During the Soviet period, the gender stratification of labor was leveled: women’s labor was not limited to the household, but was widely used in enterprises. Accelerated transformation of economic specialization took place in the post-Soviet period. The boundaries between what men can do and what is not permissible for them have actually erased, and this process began in the 1990s - the time of total men’s unemployment. Men began to explore new spheres and successfully realized their potential in the areas that had been considered exclusively women’s occupations. Changes in economic specialization could not but affect the intra-family relations of the Dagestan people. In a traditional society, the head of the family was always the father as the breadwinner and provider of the family, but in the present circumstances the head of the family is the one whose share in the family budget is greater. Recently, there have been cardinal changes in the employment of the population and in the minds of the Dagestan peoples, and the changes have significantly affected the gender differentiation of labor and gender stratification.
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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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Bunn, Stephanie. "Weaving and flying: Fusion, friction and flow in collaborative textile research." Journal of Arts & Communities 10, no. 1-2 (March 1, 2020): 129–41. http://dx.doi.org/10.1386/jaac_00010_1.
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Anthropological research is qualitative, emergent, even intuitive. As Ingold proposes, in this regard, it has much in common with arts practice. Anthropologists often follow ‘foreshadowed problems’, joining in with the mundane, interconnected tasks of people’s daily lives in the communities where they are based. Textiles, like other crafts, fit well here, often bringing in ‘women’s work’, domesticity, stories of everyday life and extending across the traditional, the popular, the modern. What this brings (we hope) is texture, quality, a rich description and the voices of our field companions. Collaboration brings an extending and questioning of the boundaries. Where does standard participant observation end and collaboration and making textiles begin? When does practical engagement constitute an intervention? And does intervening, and thus changing local practices in the field, matter? How can collaboration affect the field-site, the textiles and their limits? Who writes the results, whose voices are heard? In my case, early fieldwork ranged from making felt textiles to mundane domestic tasks such as cooking and washing up. But as collaboration, it expanded into sending letters, making work together, cultural exchanges, even symposia. In this article, I draw on case studies from research in Kyrgyzstan and Scotland to explore how collaborations through textile work may (with rigour) enhance inter-community knowledge and communication and produce growth and cumulative understanding.
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Helland, Janice. "Philanthropic Fashion: Ireland, 1887–1897." Costume 48, no. 2 (June 1, 2014): 172–92. http://dx.doi.org/10.1179/0590887614z.00000000049.
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During the nineteenth century a number of aristocratic women promoted British-made textiles by wearing garments made from domestic cloth. Royalty, too, regularly endorsed this British-made cloth by wearing gowns of British manufacture frequently trimmed with English or Irish lace. Beginning in the late 1880s, however, a more organized and sophisticated relationship developed between Irish textiles and fashion and, by the 1890s, this link was both assiduously promoted and systematically marketed. The Irish Industries Association, founded by Ishbel, Countess of Aberdeen in 1886 to promote craft and alleviate poverty in Ireland, was supported by a number of British and Irish aristocrats. The Association organized exhibitions in London, established a rapport with women’s magazines, such as Lady’s Pictorial, Gentlewoman and Queen, The Lady’s Newspaper, and encouraged fashionable shops to view, buy and promote garments made from Irish wool, lace and linen. Thus Irish textiles moved from the Celtic fringe to the metropole, and from there on to the bodies of the rich and famous. It is this highly organized appeal to consumers that I shall explore here as philanthropy colluded with the market to produce fashion.
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Reid, Lindsay. "Peace agreements and women’s political rights following civil war." Journal of Peace Research, April 12, 2021, 002234332097274. http://dx.doi.org/10.1177/0022343320972748.
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Approximately one-quarter of civil war peace agreements contain some reference to gender, prompting the question of whether or not gender provisions within peace agreements are effective tools for improving women’s rights following conflict. As calls by the United Nations and the international community place increasing emphasis on women’s involvement in peace processes, this article generates insight into whether peace agreements, a key component of peace processes, help to spur greater political rights for women. The theoretical expectations of the article posit that peace agreements generate legal frameworks for post-conflict states. Specifically, peace agreements have the potential to tie actors’ hands to new policies and generate shifts in societal norms and practices; the direction of new policies and practices, however, is dependent on the contents of agreements. When agreements are gender-inclusive, they increase the likelihood of improvements in women’s political rights. The expectations are quantitatively tested using civil war peace agreements signed between 1981 and 2011. The findings indicate that the content of agreements matters; gender-inclusive agreements lay the foundations for improvements in women’s political rights following conflict. The article demonstrates that peace agreements, when crafted to include gender provisions, are meaningful tools that international and domestic actors can harness to strengthen women’s rights after civil war.
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Alkenbrack, Kaleigh. "Craftivism!: The Possibilities and Problems of Craft as a Mode of Feminist Community Building and Social Action." Inquiry@Queen's Undergraduate Research Conference Proceedings, February 5, 2016. http://dx.doi.org/10.24908/iqurcp.8442.
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Craftivism! is a knitting collective that creates baby blankets to be given to mothers through the Healthy Aboriginal Babies Program run by the Katarokwi Native Friendship Centre in Kingston, Ontario. The group of students and community members come together to knit blankets with the aim of addressing and creating awareness about the material differences that Indigenous women experience. Craftivism! is a product of the do‐it‐yourself (DIY) ethic, a form of third‐wave feminism in which crafting is used to honour women’s history and work and to create feminist communities. While knitting has been embraced by third‐wave feminists, knitting is a luxury that many cannot afford. Although the DIY ethic provides women with a sense of self‐reliance and personal satisfaction, it is also self‐indulgent. Thus, Craftivism! aims to celebrate the domestic arts in a mindful way by acknowledging and acting on the material differences that Indigenous women experience. To account for material inequalities without victimizing Indigenous women further, blankets are produced in partnership with women participating in the prenatal program. While Craftivism! promotes purposeful knitting in the spirit of the feminist goals of empowerment, social justice and community building, the project also serves as space to think about the effectiveness of reclaiming craft. Using data from the Craftivism! project, this paper will consider whether or not the valuing of craft is a feminist act, if knitting reinforces stereotypes of femininity, if knitting is an apolitical form of consumerism, and when it is possible for certain groups to engage in knitting as a political activity.
Dissertations / Theses on the topic "Women's domestic crafts"
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Lee, Ruth Lorna, and mikewood@deakin edu au. "Our fingers were never idle: Women and domestic craft in the Geelong region, 1900-1960." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.122114.
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This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning.
The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of womens handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In making do, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time.
Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.
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Powley, Tammy. "MEMORY-CRAFT: THE ROLE OF DOMESTIC TECHNOLOGY IN WOMEN'S JOURNALS." Doctoral diss., University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3424.
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The term "memory-craft" refers to arts and crafts media where personal memorabilia and journaling are combined and assembled into book form. Examples of memory-crafts include scrapbooks, art journals, and altered books. Traditionally, women have been the primary assemblers of memory-crafts, using this form as a method of autobiography and genealogical archiving. Memory-crafting is often associated with the amateur home-crafter, and while historians have long understood its cultural significance, academia has not properly considered memory-craft as a type of alternative discourse. The purpose of this study is to examine the use of memory-crafting as a non-traditional method of writing, especially among women who use it to record personal and familial narratives. Just as women are usually the primary care-takers of the family, through memory-craft they also become responsible for collecting and preserving memories, which would otherwise become lost. These memories of the everyday – birthday parties, family vacations, and wedding anniversaries – grow to be culturally significant over time. Through the use of domestic technology, which today includes both paper scraps and home computer systems, memory-crafts assist in the interpretation of the present and provide insight into the past. To help explore the connection between domestic technology and memory-crafts, I have organized this study into four themes: history and memory-craft; women and domestic technology; feminist literary autobiography and memoir; and feminism and hypermedia. My approach is a mixture of fictionalized personal narrative and analysis loosely modeled after Writing Machines by N. Katherine Halyes and Alias Olympia by Eunice Lipton. Just as I discuss experimental methods of writing in the form of memory-crafting, I also use an experimental writing technique which gathers from personal memories in the form of a persona named Tess and from the life of my Great Aunt Mamie Veach Dudley. Mamie's journals and letter to her sister document the memories of the Dudleys including a tragic double suicide, which still haunts the Dudleys almost 100 years later. As narrator and storyteller, my stories connect to those documented by Mamie and link the past to the present. Along with Mamie's family records, I consider other memory-related works by women during the eighteenth and nineteenth centuries including Jane Austen, Anne Bronte, and Emily Dickinson, and I also examine contemporary memory-crafters such as those constructed by altered book artists Tom Phillips and Judith Margolis. Digital memory-craft is another source of support for my argument, and I look at web groups and bloggers. For example, I discuss the Wish Jar Journal, a weblog written by illustrator Keri Smith, where she journals her life and creative process and often mixes textual and visual elements in her blog posts. Writer and blogger Heather Armstrong from Dooce.com is another case study included in this project as her blog is an example of documenting familial events and memoir. Because of their fragmented formats and narrative elements, hardcopy and digitally-based memory-crafts become artifacts which combine text and visual elements to tell a story and pass on knowledge of the everyday through the mixture of text and domestic technology. Memory-craft construction does not follow conventional writing models. Therefore, this provides opportunity for experimentation by those writers who have traditionally been removed from established rhetorical writing methods.Ph.D.
Department of English
Arts and Humanities
Texts and Technology PhD;
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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Farrant, Lesa. "Craft as Escape: Women and the Domestic." 2009. http://arrow.unisa.edu.au/vital/access/manager/Repository/unisa:39152.
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The focus of this thesis is an examination of domestic handicrafts and the significance of these to Australian women's lives. The topic focuses on how the making of simple and ordinary handicrafts provides women with an escape from the domestic demands of day to day life. This thesis incorporating a body of ceramic artefacts and written exegesis is the result of an exploration of comfort and safety found in handicrafts and clay. In addition, the concepts of repetition and extraordinary ordinariness have been investigated. Exploration of this topic has required an examination of handicraft techniques, prompting me to confront and consider my own domestic situation and consider my own approach to and relationship with clay. For the final series of artworks in response to the research I have drawn inspiration from historical women's handicrafts techniques and made reference to these within the ceramic artefacts presented. Research into the area of handicraft as escape has prompted exploration into works by artists not only in the field of ceramics but those working with other media and therefore enriching my response to the topic. My research has provoked me to translate and transform women's craft skills to create a framework for my own works in clay in addition to establishing a context for my work within the field of contemporary ceramics and more broadly within contemporary visual arts. Among the results of the project has been the development of a new approach to the medium of clay incorporating innovative techniques, as well as a greater conceptual framework within my own ceramics practice.
Books on the topic "Women's domestic crafts"
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Cooper, Patricia J. The quilters: Women and domestic art : an oral history. 2nd ed. New York: Doubleday, 1989.
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Cooper, Patricia J. The quilters: Women and domestic art : an oral history. Lubbock, Tex: Texas Tech University Press, 1999.
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Novel craft: Victorian domestic handicraft and nineteenth-century fiction. New York: Oxford University Press, 2011.
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Cooper, Patricia J., and Norma Bradley Allen. The Quilters: Women and Domestic Art : An Oral History. Texas Tech University Press, 1999.
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Schaffer, Talia. Novel Craft: Victorian Domestic Handicraft And Nineteenth-Century Fiction. Oxford University Press, Usa, 2014.
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Fernandes, Sujatha. Curated Stories. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190618049.001.0001.
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In the contemporary era we have seen a proliferation of storytelling activities, from the phenomenon of TED talks and Humans of New York to a plethora of story-coaching agencies and consultants. Curated Stories seeks to understand the rise of this storytelling culture alongside a broader shift to neoliberal free market economies. The book shows how in the turn to free market orders, stories have been reconfigured to promote liberal and neoliberal self-making and are restructured as easily digestible soundbites mobilized toward utilitarian ends. The reader is taken to several sites around the world where we can hear stories and observe varied contemporary modes of storytelling: the online Afghan Women’s Writing Project, the domestic workers movement and the undocumented student Dreamer movement in the United States, and the Misión Cultura storytelling project in Venezuela. Curated stories are often heartbreaking accounts of poverty and mistreatment that may move us deeply. But what do they move us to? What are the stakes, and for whom, in the crafting and mobilization of storytelling? A careful analysis of the conditions under which the stories are told, the tropes through which they are narrated, and the ways in which they are responded to shows how stories may actually work to disguise the deeper contexts of global inequality in which these marginal lives are situated. The book is also concerned with how we might reclaim storytelling as a craft that allows for the fullness and complexity of experience to be expressed in pursuit of transformative social change.
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Homestead, Melissa J. The Only Wonderful Things. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190652876.001.0001.
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This book tells for the first time the story of the central relationship of novelist Willa Cather’s life, her nearly forty-year partnership with Edith Lewis. Cather has been described as a distinguished artist who turned her back on the crass commercialism of the early twentieth century and as a deeply private woman who strove to hide her sexuality, and Lewis has often been identified as her secretary. However, Lewis was a successful professional woman who edited popular magazines and wrote advertising copy at a major advertising agency and who, behind the scenes, edited Cather’s fiction. Recognizing Lewis’s role in Cather’s creative process changes how we understand Cather as an artist, while recovering their domestic partnership (which they did not seek to hide) provides a fresh perspective on lesbian life in the early twentieth century. Homestead reconstructs Cather and Lewis’s life together in Greenwich Village and on Park Avenue, their travels to the American Southwest that formed the basis of Cather’s novels The Professor’s House and Death Comes for the Archbishop, their summers as part of an all-woman resort community on Grand Manan Island, and Lewis’s magazine and advertising work as a context for her editorial collaboration with Cather. Homestead tells a human story of two women who chose to live in partnership and also explains how the Cold War panic over homosexuality caused biographers and critics to make Lewis and her central role in Cather’s life vanish even as she lived on alone for twenty-five years after her partner’s death.
Book chapters on the topic "Women's domestic crafts"
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Wilson, Mary. "“The world…seen from this angle undoubtedly looks queer”: History, Heritage, and the Queer Domesticity of Between the Acts." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0021.
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The paper reads Woolf’s last work as a queerly domestic novel: centered on the space of Pointz Hall and the history of England and simultaneously decentering the heterosexual romance plot and the British Army, rewriting the English home and English heritage. Woolf crafts her revision by connecting the creative work of Miss La Trobe and Isa Oliver, whose particular expressions turn the queer and queering gaze of the female outsider onto the two faces of domesticity—private and national—and demonstrate their inextricable links to each other. In Three Guineas, Woolf repeatedly describes the queerness of the vantage point available to the daughters of educated men: the view of the world seen through the filter of domesticity, queer in that it renders strange the accepted order of the patriarchal world. Woolf draws together the reluctantly domesticated Isa’s private poetry, hidden in the family accounts book, and the lesbian, quasi-foreign La Trobe’s publicly performed play about English national history to produce a queer revision of domestic inheritance on personal and national levels. Isa’s and La Trobe’s creative efforts and their domestic lives are marked with incompleteness, dissatisfaction, and failure, which suggests that a queerly domestic viewpoint cannot be an end in itself, particularly on the brink of war. But the novel also insists that women’s queering perspectives on domestic life provides a necessary counterpoint to personal and national stories of violence and patriotism.
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Moss, Eloise. "Designing the Burglar-Proof Home." In Night Raiders, 132–57. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840381.003.0006.
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Chapter 6 takes a closer look at the relationship between crime, gender, and the home through analysing the security devices that began populating middle-class houses from the mid-nineteenth century. Designed to be impenetrable and invisible to the wandering eye of the thief, locks and safes were increasingly decorated with particular rooms in mind, especially feminized, sexualized spaces such as the boudoir and the bedroom. The chapter analyses how this reflected the heightened publicity accorded burglaries of women’s jewellery, possessions which held their own gendered, emotional significance as tokens of love and familial bonds. Crime prevention began to reshape domestic space in this era, whether via locks and safe doors hidden beneath gloriously elaborate carvings and intricate metalwork or taking the form of burglar alarms with sensors fitted snugly between carpets, walls, and window-ledges, trailing pressure-points like a net around the home’s perimeter. While existing scholarship on the history of domestic space has thus far treated decoration and security separately, this chapter considers how the design and placement of anti-burglar devices crafted an interplay between boundaries and furnishings that maintained the facade of carefree residential harmony.
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Trumper, Camilo D. "Streets, Citizenship, and the Politics of Gender in Allende’s Chile." In Ephemeral Histories. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520289901.003.0003.
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Chapter two examines how those on the Left and Right alike crafted political narratives on the street that made new sense of these idealized views of the city and of citizenship. In an effort to fashion political opposition to Allende, women organized around the specter of food shortages, scarcity, and price inflation in the December 1, 1971 March of the Empty Pots. Circulating information and organizing meetings in the press, supermarkets, food queues, and hair salons, they politicized traditionally “apolitical” places. In so doing, they created new possibilities for political association and debate. They also made gendered spectacle of “reclaiming the streets” from Allende supporters, banging empty pots and pans to arguing that they were forced out of their domestic worlds by the “dire” lack of subsistence goods and into the contested space of urban politics. Studying this emblematic protest through the intertwined lenses of gender, politics and the public sphere, Chapter 2 reveals how the ephemeral political practice of protest effectively transformed gendered domestic tropes into legitimate political languages and into the bases for new, gendered, and conservative political identities.
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Chumak, Halyna. "‘Roses blooming under glass; lips cut with a knife’: Hermeneutics of the Modern Female Face in Woolf and Mansfield." In Katherine Mansfield and Virginia Woolf, 87–101. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439657.003.0007.
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Inspired by the interdisciplinary studies undertaken by Michael North and Rochelle Rives, this article examines conspicuous representations of the modern female face in Virginia Woolf’s Mrs Dalloway (1925) and Katherine Mansfield’s ‘Bliss’ (1918), ‘Pictures’ (1920), and ‘The Garden Party’ (1922). If writers and artists of the early twentieth century dispelled facile assumptions about a mimetic relationship between face and character, why are two modernist women writers so invested in highlighting the female face? I approach this query and the lexical visages Mansfield and Woolf craft by situating their work within a cultural-historical framework that constellates nineteenth-century physiognomy, a growing female presence in the public sphere, and the rise of modern visual technologies. Physiognomy had lost its cultural traction by the fin de siècle, but it left an indelible influence on cultural assumptions about women who crossed domestic thresholds. I demonstrate that Woolf and Mansfield convey a salient interest in the inscrutable female visage that resists being read as what Rives calls a ‘text for analysis and interpretation’. Both writers reveal concerns about the modern woman’s visual identification, but of the two, it is Mansfield who fashions corrective images and extricates the modern woman from her physiognomic past.