Artículos de revistas: "Women in art"

1

Sandell, Renee, Enid Zimmerman, Mary Ann Stankiewicz, Mary Ann Stankiewicz y Enid Zimmerman. "Women Art Educators". Woman's Art Journal 9, n.º 2 (1988): 49. http://dx.doi.org/10.2307/1358322.

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2

Gordon Atkinson, Anne. "Women in Art". Journal of Baha’i Studies 4, n.º 2 (1991): 1–10. http://dx.doi.org/10.31581/jbs-4.2.1(1991).

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Though creativity has often been associated with women, historically and in the present there have been many impediments to achievement by women in art. Often relegated to the role of the “muse,” women have been expected to inspire men’s creativity but not develop their own. Household responsibilities, the rearing of children, poverty, and lack of education, support, and encouragement have been among the reasons there have been few “great” women artists. Often work by women was never discovered, was published or presented anonymously, or was credited to a male. The Bahá’í writings state that women should receive equal opportunities for education, should participate in all avenues of human endeavor, and should become proficient in the arts and sciences. Men are called upon to affirm that the capacity of women is equal to and even greater than theirs, in order to foster the development of women. In a world in which both sexes are free to express their creativity, great advances will be made.

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3

Köse, Zuhal y Gülsün Şahan. "A view of women in painting from the past to the present: the image of women in art and women painters". Journal of Human Sciences 18, n.º 3 (31 de julio de 2021): 431–49. http://dx.doi.org/10.14687/jhs.v18i3.6151.

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The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed. Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed.

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4

Mathews, Patricia y Whitney Chadwick. "Women, Art, and Society (World of Art)". Art Bulletin 73, n.º 2 (junio de 1991): 336. http://dx.doi.org/10.2307/3045802.

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5

Loeb, Judy, Georgia C. Collins y Renee Sandell. "Women, Art, and Education". Woman's Art Journal 7, n.º 1 (1986): 49. http://dx.doi.org/10.2307/1358239.

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6

Garrard, Mary D. y Whitney Chadwick. "Women, Art, and Society". Woman's Art Journal 12, n.º 2 (1991): 36. http://dx.doi.org/10.2307/1358283.

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7

Petrovich-Mwaniki, Lois, G. Collins y R. Sandell. "Women, Art, and Education". Studies in Art Education 31, n.º 1 (1989): 62. http://dx.doi.org/10.2307/1320891.

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8

Skelton, Pam. "Women in Art Education". Circa, n.º 26 (1986): 38. http://dx.doi.org/10.2307/25557054.

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9

Barber, Fionna y Whitney Chadwick. "Women, Art and Society". Circa, n.º 52 (1990): 42. http://dx.doi.org/10.2307/25557541.

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10

Malina, Roger F. y Whitney Chadwick. "Women, Art and Society". Leonardo 24, n.º 4 (1991): 491. http://dx.doi.org/10.2307/1575544.

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11

Arnold, Marion. "WOMEN, ART, AND TECHNOLOGY". Art Book 12, n.º 3 (agosto de 2005): 61–62. http://dx.doi.org/10.1111/j.1467-8357.2005.587_6.x.

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12

Dodd, Sara M. "Women, Art and Gender". Art Book 9, n.º 1 (enero de 2002): 9–12. http://dx.doi.org/10.1111/1467-8357.00272.

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13

Malchiodi, Cathy A. "Women and Art Therapy". Art Therapy 13, n.º 1 (enero de 1996): 2–3. http://dx.doi.org/10.1080/07421656.1996.10759182.

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14

Cohen, David. "WOMEN IN ATHENIAN ART". Classical Review 53, n.º 2 (octubre de 2003): 450–52. http://dx.doi.org/10.1093/cr/53.2.450.

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15

Chang, Yongsock. "The Broadening of Art Perspectives in an Art Course of Non-Art Major Students through a Korean Art Teacher’s Asian Art Viewpoint". Asian Qualitative Inquiry Association 2, n.º 1 (31 de julio de 2023): 51–68. http://dx.doi.org/10.56428/aqij.2023.2.1.51.

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This research explores how Multicultural and Asian art affects college students in a U.S. university. The students did not major in art, and they chose art as elective subjects. The art course consisted of art theory and practice based on DBAE(Discipline-Based Art Education). In the art class, some non-white students always enrolled in the course. The researcher found that DBAE was satisfactory but sometimes inappropriate because DBAE is rooted in Western high art. The researcher changed the art studio class with a multicultural perspective, especially Asian art because he wanted to introduce a new art style to the class and give them a chance to appreciate non-western art. Qualitative action research and arts-based research methods were used to conduct this project. The result revealed that the students of color showed more confidence and actively participated in the class. The works of students of color were changed and improved. Second, women became more aware of social issues and expressed their feelings and emotions in their works. It seemed that the women students would become social activists and voice their opinions by making their art. Third, some students, especially Hispanic and Asian students showed their identity through their artworks. Forth, some Korean students did not make much progress. By including multicul-tural art in art classes, more students could broaden their perspectives on art and understand diversity through their artworks.

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16

Fajardo-Hill, Cecilia. "Radical Women". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 81–91. http://dx.doi.org/10.1525/lavc.2023.5.2.81.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.

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17

Saha, Birbal. "Feminism in Society, Art and Literature: An Introspection". Galore International Journal of Applied Sciences and Humanities 7, n.º 1 (30 de enero de 2023): 1–5. http://dx.doi.org/10.52403/gijash.20230101.

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A society is a group where both men and women co-exist, keeping the ride rolling. The best way for a woman to define her presence is to have equal access to high-quality education, political participation and empowerment. She enters politics to broaden the scope of her social engagement, takes care of her household, practices a professional career, takes care of her children etc. Feminists have engaged themselves into a large spectrum defining the role of women in various aspects, her status and the barriers faced. The present paper is an attempt to study the depiction of woman in society, art and literature, looking into the roles she takes part into and the problems she encounters. Keywords: Women in Literature, Social Study, Portrayal of Indian Women, Women in Art, Women in Politics

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18

Yui, Wei. "Chinese Women’s Art". Культура и искусство, n.º 5 (mayo de 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.

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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.

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19

Mountz, James M., Laurence A. Bradley, Jack G. Modell, Ronald W. Alexander, Mireya Triana-Alexander, Leslie A. Aaron, Katharine E. Stewart, Graciela S. AlarcóN y John D. Mountz. "Fibromyalgia in women". Arthritis & Rheumatism 38, n.º 7 (julio de 1995): 926–38. http://dx.doi.org/10.1002/art.1780380708.

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20

Chicago, Judy, Edward Lucie-Smith y Edward Lucie-Smith. "Women and Art: Contested Territory". Woman's Art Journal 22, n.º 2 (2001): 58. http://dx.doi.org/10.2307/1358915.

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21

Kumar, Alok y Minakshi Hooda. "WOMEN FIGURES IN FANTASY ART". ShodhKosh: Journal of Visual and Performing Arts 3, n.º 1 (16 de marzo de 2022): 100–107. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.72.

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People say that “Never judge a book by its cover,” but the cover of the book invites us towards it. I remember, during my college years, of going to a bookstore, named” IDEA” in New Delhi, and buying an expensive book named “ENCHANTMENT” stories by Doris Vallejo, Illustrated by Boris Vallejo. The thing, that attracted me, was cover of the book. At that point of time, I was not prepared for reading stories, but I bought this book because of its illustrations, which enchanted me.In Fantasy Art, we see a visual world and feel a World of Imagination which is a representation of reality. In Fantasy art, we can time travel and become anything of our choosing. This is not the world, we know and live in, but a world of our conceived and perceived imagination.In this imaginative world, female figures, plays a key role in provoking our feelings, invite us, for a heroic journey to explore an unknown world.Through this article, I would like to invite you to join me, on a fantastic journey of this female representation in Visual World and become part of this Fantasy Artwork.To build the idea of FANTASY ART from a linguistic understanding following writings lead us on, the Meriam webster dictionary define art as “The conscious use of skill and creative imagination, especially in the production aesthetic objects; also; works to produce”.In Shabdkosh Hindi Dictionary, “The creation of beautiful or significant things”. “The product of human creativity; works of art collectively”.The definition, I listen in my college is “Art Is Representation of Reality”.Regardless of definition, we all know about what art is and what it is not.Dictionary meaning of word fantasy is “Imagination unrestricted by reality” and fantasy art meaning is, an imaginative world, that could be, may it be, would have been, or could never be. In this imaginative art style, the artwork which can be thought provoking, whimsical, challenging, disturbing, unreal, and challenging of notions of rationality.

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22

Robinson, Hilary. "Art & Society: Reframing Women". Circa, n.º 72 (1995): 18. http://dx.doi.org/10.2307/25562809.

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23

Lewis, Natasha. "Women and Other Art Objects". Dissent 61, n.º 2 (2014): 87–89. http://dx.doi.org/10.1353/dss.2014.0026.

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24

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 4, n.º 3 (octubre de 1985): 123. http://dx.doi.org/10.1086/adx.4.3.27947466.

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25

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 4, n.º 4 (diciembre de 1985): 175. http://dx.doi.org/10.1086/adx.4.4.27947512.

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26

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 5, n.º 1 (abril de 1986): 29–30. http://dx.doi.org/10.1086/adx.5.1.27947555.

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27

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 5, n.º 3 (octubre de 1986): 133–34. http://dx.doi.org/10.1086/adx.5.3.27947631.

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28

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 5, n.º 4 (diciembre de 1986): 177. http://dx.doi.org/10.1086/adx.5.4.27947675.

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29

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 6, n.º 1 (abril de 1987): 36–37. http://dx.doi.org/10.1086/adx.6.1.27947720.

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30

Crowe, Edith L. "WOMEN & ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 6, n.º 3 (octubre de 1987): 125–26. http://dx.doi.org/10.1086/adx.6.3.27947789.

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31

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 6, n.º 4 (diciembre de 1987): 172–73. http://dx.doi.org/10.1086/adx.6.4.27947829.

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32

Crowe, Edith L. "WOMEN AND ART DOCUMENTATION GROUP". Art Documentation: Journal of the Art Libraries Society of North America 7, n.º 3 (octubre de 1988): 113. http://dx.doi.org/10.1086/adx.7.3.27947930.

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33

Bonfante, Larissa. "Amber, women, and situla art". Journal of Baltic Studies 16, n.º 3 (septiembre de 1985): 276–91. http://dx.doi.org/10.1080/01629778500000181.

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34

Luke, B., M. B. Brown, L. G. Spector, S. A. Missmer, R. Leach, M. Williams, L. Koch et al. "Cancer in women before ART". Fertility and Sterility 102, n.º 3 (septiembre de 2014): e52. http://dx.doi.org/10.1016/j.fertnstert.2014.07.181.

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35

Sridharan, Shriya. "Women in Hindu Temple Art". Religion and the Arts 27, n.º 1-2 (11 de abril de 2023): 157–78. http://dx.doi.org/10.1163/15685292-02701015.

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Abstract This paper will focus on the traditional or Agamic temples of South India, to explore the reasons why women are largely absent in significant hereditary roles determining the continuation of its art and ritual practices even at present. The art/ritual practice that women are primarily associated with is kolam-making. Kolams are geometric and abstract floor designs that are drawn by hand using impermanent materials like rice flour to mark the auspiciousness of an entryway, a festive occasion or time of the day. These are mostly done as voluntary services at temples by women in the locality, especially during festival days. The nature of this art is informal and ephemeral compared to the other codified and more permanent temple art forms, which women are not allowed to make. The limited and conditional access for female practitioners in Hindu temples is based upon restrictions constructed around the divine power, which the temple is designed to establish and maintain. This paper will study and locate the absence of women as contemporary temple art practitioners in the intersection of the meanings of being female and the meanings of Hindu temple forms and spaces.

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36

WALSH, VAL. "‘Walking on the Ice’: Women, Art Education and Art". Journal of Art & Design Education 9, n.º 2 (junio de 1990): 147–61. http://dx.doi.org/10.1111/j.1476-8070.1990.tb00469.x.

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37

Crowe, Edith L. "WOMEN, ART, AND SOCIETY (World of Art). Whitney Chadwick". Art Documentation: Journal of the Art Libraries Society of North America 9, n.º 4 (diciembre de 1990): 216–17. http://dx.doi.org/10.1086/adx.9.4.27948298.

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38

Hardiman, Louise. "Invisible Women". Experiment 25, n.º 1 (30 de septiembre de 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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39

Dankwa-Mullan, Irene, M. Christopher Roebuck, Joseph Tkacz, Oluwadamilola Motunrayo Fayanju, Yi Ren, Gretchen Purcell Jackson y Yull Edwin Arriaga. "Disparities in receipt of and time to adjuvant therapy after lumpectomy." Journal of Clinical Oncology 38, n.º 15_suppl (20 de mayo de 2020): 534. http://dx.doi.org/10.1200/jco.2020.38.15_suppl.534.

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534 Background: Adjuvant treatment after breast conserving surgery (BCS) has been shown to improve outcomes, but the degree of uptake varies considerably. We sought to examine factors associated with post-BCS receipt of and time to treatment (TTT) for adjuvant radiation therapy (ART), cytotoxic chemotherapy (ACT) and endocrine therapy (AET) among women with breast cancer. Methods: IBM MarketScan claims data were used to select women diagnosed with non-metastatic invasive breast cancer from 01/01/2012 to 03/31/2018, who received primary BCS without any neoadjuvant therapy, and who had continuous insurance eligibility 60 days post-BCS. Logistic and quantile regressions were used to identify factors associated with receipt of adjuvant therapy (ART, ACT, AET) and median TTT in days for ART (rTTT), ACT (cTTT), and AET (eTTT), respectively, after adjustment for covariates including age, year, region, insurance plan type, comorbidities, and a vector of ZIP3-level measures (e.g., community race/ethnicity-density, education level) from the 2019 Area Health Resource Files. Results: 36,270 patients were identified: 11,996 (33%) received ART only, 4,837 (13%) received ACT only, 3,458 (10 %) received AET only, 5,752 (16%) received both ART and AET, and 9,909 (27%) received no adjuvant therapy within 6 months of BCS. (318) 1% of patients received combinations of either ART, AET or ACT. Relative to having no adjuvant therapy, patients > 80 years were significantly less likely to receive ART only (relative risk ratio [RRR] 0.65), ACT only (RRR 0.05), or combination ART/AET (RRR 0.66) but more likely to receive AET alone (RRR 3.61) (all p < .001). Patients from communities with high proportions of Black (RRR 0.14), Asian (RRR 0.13), or Hispanic (RRR 0.45) residents were significantly less likely to receive combination ART and AET (all p < .001). Having HIV/AIDS (+11 days; p = .01) and residing in highly concentrated Black (+8.5 days; p = .01) and Asian (+12.2 days; p = .04) communities were associated with longer rTTT. Longer cTTT was associated with having comorbidities of cerebrovascular disease (+6.0 days; p < .001), moderate to severe liver disease (+12.3 days; p < .001) and residing in high-density Asian communities (+18.0 days; p < .001). Shorter eTTT (-11.4 days; p = .06) and cTTT (-14.8 days; p < .001) was observed in patients with comorbidities of dementia. Conclusions: Results from this cohort of privately insured patients demonstrate disparities in receipt of post-BCS adjuvant radiation and systemic therapy along multiple demographic dimensions and expose opportunities to promote timely receipt of care.

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40

Cooper, Sheldon M. "Pseudopodagra in young women". Arthritis & Rheumatism 33, n.º 4 (abril de 1990): 607–8. http://dx.doi.org/10.1002/art.1780330428.

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41

Verbrugge, Lois M. "Women, men, and osteoarthritis". Arthritis Care & Research 8, n.º 4 (diciembre de 1995): 212–20. http://dx.doi.org/10.1002/art.1790080404.

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42

Lundberg, Ingrid E., Seza Ozen, Ayse Gunes-Ayata y Mariana J. Kaplan. "Women in academic rheumatology". Arthritis & Rheumatism 52, n.º 3 (2005): 697–706. http://dx.doi.org/10.1002/art.20881.

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43

Boychuk, A. G. "The complex of therapeutic and preventive measures for women with non-alcoholic fatty liver disease in preparation for ART programs". HEALTH OF WOMAN, n.º 6(112) (29 de julio de 2016): 169–72. http://dx.doi.org/10.15574/hw.2016.112.169.

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The objective: To evaluate the effectiveness of complex therapeutic and preventive measures for women with non-alcoholic fatty liver disease in preparation for ART programs. Materials and methods. To evaluate the effectiveness of therapeutic and preventive measures on the basis of the prediction algorithm in women with infertility and non-alcoholic fatty liver disease (NAFLD) identified 60 women with a high risk of inefficiencies ART. The method of randomization, patients were divided into: basic group - 30 women with a recommended set of preparations for the holding of ART, the comparison group - 30 women with preparations for ART according to the Ministry of Health protocols. Results. Application reference system in women with infertility and NAFLD, which includes forecasting inefficiency ART and additional therapeutic and preventive measures to include gepatoprotektors, acid ursodeoxycholicum drugs, L-arginine, щ-3 fatty acids and probiotics, helped to improve the overall condition of the woman, a liver condition, cardiovascular regulation reduce symptoms of dysbiosis, hormonal status and reproductive system, as a result, increase the effectiveness of ART programs to population-wide level (pregnancy occurred in 36.7% of women). Conclusions. Prove safety and high efficiency of complex therapeutic and preventive measures for women with infertility and NAFLD can be recommended for implementation in practice of reproductive medicine clinics, which will increase the effectiveness of ART, to preserve a woman’s health. Key words: infertility, assisted reproductive technologies, non-alcoholic fatty liver disease, treatment.

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Sharrock, A. R. "Womanufacture". Journal of Roman Studies 81 (noviembre de 1991): 36–49. http://dx.doi.org/10.2307/300487.

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Women are ‘perceived’. We speak often not just of ‘women’, but of ‘images’, ‘representations’, ‘reflections’ of women. Woman perceived is woman as art-object; and paradigmatic of this phenomenon is the myth of Pygmalion.This article will consider Ovid's version of the myth, the story of the artist who loved his own creation. I shall suggest that the story reflects on the eroto-artistic relationship between the poet and his puella explored in Latin love elegy. The Metamorphoses myth of the art-object which becomes a love-object mirrors the elegiac myth of love-object as art-object. The elegists represent the puella as both art and flesh. Pygmalion deconstructs the erotic realism of elegy and by its frankness about the power of the male artist discloses elegy's operations. It tells us how to read the puella — as a work of art; and the lover — as an artist obsessed with his own creation. Pygmalion reflects and exposes the self-absorption of elegy, the heroization of the lover, and the painted nature of the woman presented in eroto-elegiac texts, that is, the way in which she is to be seen as an art-object.

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Parke, Ann L., Daniel Wilson y Donald Maier. "The Prevalence of Antiphospholipid Antibodies in Women With Recurrent Spontaneous Abortion, Women With Successful Pregnancies, and Women Who Have Never Been Pregnant". Arthritis & Rheumatism 34, n.º 10 (10 de octubre de 1991): 1231–35. http://dx.doi.org/10.1002/art.1780341005.

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Belova, Darya Nikolaevna. "Female images in Art Nouveau style". Культура и искусство, n.º 10 (octubre de 2021): 56–72. http://dx.doi.org/10.7256/2454-0625.2021.10.36452.

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This article analyzes the activity of the Art Nouveau artists of the late XIX – early XX centuries, and the reception of their works. The subject of this research is the works of both female and male artists, and their interinfluence. The article touches upon the topic of genders in art, difficulties of promoting the “female perspective” in the period of Art Nouveau. The article employs the comparative-historical, involving scientific materials on culturology, philosophy and art history; sociocultural approach towards historical events in the establishment of Art Nouveau. The relevance of this topic is substantiated by heightened interest to studying the phenomenon of Art Nouveau and the role of women in its formation. The novelty of this research consists in attempt to determine the specificity of female principle in Art Nouveau style, both as an artistic image that holds the leading place therein, and in the image of women artists who tried to implement their vision of female image in the art object. The conclusion is made that despite the shift in the worldview orientations and artistic paradigms of this period, women artists were experiencing major difficulties. The formation of the Art Nouveau style vividly manifested the features of the “new woman” in the works of women artists, emphasizing their uniqueness and artistic peculiarities. It is determined that the comprehension of multifacetedness of Art Nouveau style was greatly affected by women artists, whose works are still relevant today.

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Machtinger, R., N. Fallach, I. Goldstein, G. Chodick, E. Schiff, R. Orvieto y R. Mashiach. "Ovarian stimulation for fertility treatments and risk of breast cancer: a matched cohort study". Human Reproduction 37, n.º 3 (6 de diciembre de 2021): 577–85. http://dx.doi.org/10.1093/humrep/deab270.

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Abstract STUDY QUESTION Is there a difference in the breast cancer risk among women who underwent ART treatments compared to those who underwent medically assisted reproduction (MAR) infertility treatments or women of reproductive age in the general population? SUMMARY ANSWER The risk of breast cancer among women treated by ART was similar to the risk among women treated by MAR and women who did not undergo fertility treatments. WHAT IS KNOWN ALREADY Studies investigating breast cancer risk in women who have undergone fertility treatments have provided conflicting results. STUDY DESIGN, SIZE, DURATION A retrospective, population-based cohort study included women who underwent ART or MAR treatments and women who did not undergo fertility treatments from 1994 to 2019. PARTICIPANTS/MATERIALS, SETTING, METHODS Women who underwent ART were matched one to one with women who underwent MAR treatments and one to one with woman from the general population of reproductive age, by year of birth and year of first delivery or nulliparity status. MAR women were also matched to ART women by treatment initiation calendar year. All included women were members of Maccabi Healthcare Services. Data regarding demographics, fertility treatments, BRCA mutation and possible confounders were obtained from the computerized database of electronic health records. The incidence of breast cancer after fertility treatments was compared to the matched controls. MAIN RESULTS AND THE ROLE OF CHANCE Of 8 25 721 women of reproductive age, 32 366 women who underwent ART were matched with patients treated by MAR (n = 32 366) and 32 366 women of reproductive age. A total of 984 women (1.0%) were diagnosed with breast cancer (mean follow-up period, 9.1 ± 6.3 years; interquartile range [IQR], 3.8–13.7 years). The incidence rates of breast cancer per 10 000 person-years were 11.9 (95% CI, 10.7–13.3), 10.7 (95% CI, 9.6–11.9) and 10.7 (95% CI, 9.6–12.0) in the ART group, MAR group and general population, respectively. The crude risk for breast cancer was similar in the ART group compared with the general population (hazard ratio (HR) = 1.10, 95% CI, 0.94–1.28) and in the ART group compared with the MAR group (HR = 1.00, 95% CI, 0.86–1.16). Further adjustment for age, BMI, smoking, socioeconomic status and parity did not substantially impact the hazard rates for breast cancer (ART vs general population: HR = 1.10, 95% CI, 0.94–1.28; ART vs MAR: HR = 0.99, 95% CI, 0.85–1.16). Among women diagnosed with breast cancer, the prevalence of BRCA1/2 mutations and tumour staging did not differ between the ART, MAR and general population groups. Among women who underwent ART, no correlation was found between breast cancer and the number of ART cycles or the use of recombinant medications or urine-derived medications. LIMITATIONS, REASONS FOR CAUTION The mean age of women at the end of follow-up was only 42 years thus the study was not powered to detect potential differences in the risk of postmenopausal breast cancer. In addition, we did not sub-classify the exposed patients by the reason for infertility. WIDER IMPLICATIONS OF THE FINDINGS Breast cancer incidence following ART was comparable to that in the general population or following MAR. Women undergoing fertility treatments and their clinicians may be reassured about the safety of assisted reproduction technologies in terms of premenopausal breast cancer risk. STUDY FUNDING/COMPETING INTEREST(S) No specific funding was used and there are no competing interests. TRIAL REGISTRATION NUMBER N/A.

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Căpîlna, Mihai Emil, Nicolae Ioanid, Viorel Scripcariu, Madalina Mihaela Gavrilescu y Bela Szabo. "Abdominal Radical Trachelectomy: A Romanian Series". International Journal of Gynecologic Cancer 24, n.º 3 (marzo de 2014): 615–19. http://dx.doi.org/10.1097/igc.0000000000000076.

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ObjectiveAbdominal radical trachelectomy (ART) is one of the fertility-sparing procedures in women with early-stage cervical cancer. The published results of ART, in comparison with vaginal radical trachelectomy, so far are limited.Materials and MethodsThis retrospective study comprises all cases of female patients referred to ART with early-stage cervical cancer from 2 gynecologic oncology centers in Romania.ResultsA total of 29 women were referred for ART, but subsequently, fertility could not be preserved in 3 of them. Eleven women had stage IA2 disease (42.3%), 14 (53.8%) women had stage IB1 disease, and 1 (3.8%) woman had stage IB2 disease. Histologic subtypes were 15 (57.6%) squamous, 8 (30.7%) adenocarcinoma, and 3 (11.5%) adenosquamous. There were no major intraoperative complications in both hospitals. Early postoperative complications were mainly related to the type C parametrectomy—bladder dysfunction for more than 7 days (8 [30.7%] women) and prolonged constipation (6 [23.0%] women). Other complications consisted in symptomatic lymphocele in 2 (7.6%) patients, which were drained. Median follow-up time was 20 months (range, 4–43 months). Up to the present time, there has been 1 (3.8%) recurrence in our series. Most patients did not experience late postoperative complications. Three (11.5%) women are amenorrheic, and 1 (3.8%) woman developed a cervical stenosis. Of the 23 women who have normal menstruation and maintained their fertility, a total of 7 (30.4%) women have attempted pregnancy, and 3 (42.8%) of them achieved pregnancy spontaneously. These pregnancies ended in 2 first trimester miscarriages and 1 live birth at term by cesarean delivery.ConclusionsOur results demonstrate that ART preserves fertility and maintains excellent oncological outcomes with low complication rates.

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Chinchilla, Nuria y Esther Jiménez. "Helping Women Thrive in Your Company: Women Mean Business". IESE Insight, n.º 30 (26 de septiembre de 2016): 46–53. http://dx.doi.org/10.15581/002.art-2889.

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James, Sibyl y Judy K. Collischan Van Wagner. "Women Shaping Art: Profiles of Power". Woman's Art Journal 7, n.º 2 (1986): 48. http://dx.doi.org/10.2307/1358307.

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