Littérature scientifique sur le sujet « Women – Identity – Edinburgh »
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Articles de revues sur le sujet "Women – Identity – Edinburgh"
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Scullion, Adrienne. « Self and Nation : Issues of Identity in Modern Scottish Drama by Women ». New Theatre Quarterly 17, no 4 (novembre 2001) : 373–90. http://dx.doi.org/10.1017/s0266464x00015001.
Texte intégralRésumé :
The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and structures. Specifically, this article questions what impact political devolution might have on the rhetoric of Scottish cultural criticism by paralleling feminist analysis of three plays by women premiered in Scotland in 2000 with the flexible, even hybrid, model of the nation afford by devolution, resetting identity within Scottish culture as much less predictable and much more inclusive than has previously been understood. An earlier versions was delivered by the author on 5 March 2001 to the Royal Society of Edinburgh in receipt of the biennial RSE/BP Prize Lectureship in the Humanities. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow, where she is also the academic director of the Centre for Cultural Policy Research.
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Grundy, Sue, et Lynn Jamieson. « Are We All Europeans Now ? Local, National and Supranational Identities of Young Adults ». Sociological Research Online 10, no 3 (novembre 2005) : 169–83. http://dx.doi.org/10.5153/sro.1142.
Texte intégralRésumé :
The continued expansion and deepening of the European Union state raises important questions about whether there will be a corresponding development of pro-supranational feeling towards Europe. This paper is based on data drawn from a European Commission (EC) funded project on the ‘Orientations of Young Men and Women to Citizenship and European Identity’. The project includes comparative surveys of ‘representative samples’ of young men and women aged 18-24 and samples of this age group on educational routes that potentially orient them to Europe beyond their national boundaries. This comparison of samples is made in paired sites with contrasting cultural and socio-political histories in terms of European affiliations and support for the European Union. The sites are: Vienna and Vorarlberg in Austria; Chemnitz and Bielefeld in East and West Germany; Madrid and Bilbao in Spain; Prague and Bratislava, the capitals of the Czech and Slovak Republics; Manchester, England and Edinburgh, Scotland in the UK. This paper examines patterns of local, national and supranational identity in the British samples in comparison to the other European sites. The typical respondent from Edinburgh and Manchester have very different orientations to their nation-state but they share a lack of European identity and disinterest in European issues that was matched only by residents of Bilbao. International comparision further demonstrates that a general correlation between levels of identification with nation-state and Europe masks a range of orientations to nation, state and Europe nurtured by a variety of geo-political contexts.
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ANDERSON, ROBERT. « Ceremony in Context : The Edinburgh University Tercentenary, 1884 ». Scottish Historical Review 87, no 1 (avril 2008) : 121–45. http://dx.doi.org/10.3366/e0036924108000073.
Texte intégralRésumé :
Edinburgh introduced Britain to the university centenary, an established form of celebration in continental Europe. The ceremonies in 1884 can be seen in the framework of the late nineteenth-century ‘invention of tradition’. Such events usually asserted the links of the university with national and local communities and with the state. The Edinburgh celebrations marked the opening of a new medical school, after a public appeal which itself strengthened relations with graduates and wealthy donors. The city council, local professional bodies, and the student community all played a prominent part in the events of 1884, which were a significant episode in the development of student representation. Analysis of the speeches given on the occasion suggests that the university sought to promote the image of a great medical and scientific university, with the emphasis on teaching and professional training rather than research, for the ideal of the ‘Humboldtian’ research university was still a novelty in Britain. Tercentenary rhetoric also expressed such themes as international academic cooperation , embodied in the presence of leading scientists and scholars, the harmony of religion and science, and a liberal protestant view of the rise of freedom of thought. The tercentenary coincided with impending legislation on Scottish universities, which encouraged assertions of the public character of these institutions, and of the nation's distinct cultural identity. One striking aspect, however, was the absence of women from the formal proceedings, and failure to acknowledge the then current issue of women's admission to higher education.
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SCULLY, PAMELA. « MUSIC, MIGRATION AND IDENTITY Songs of the Women Migrants : Performance and Identity in South Africa. By DEBORAH JAMES. Edinburgh : Edinburgh University Press for the International African Institute, 1999. Pp. x+238. £14.95, paperback (ISBN 0-7486-1304-8). » Journal of African History 42, no 3 (décembre 2001) : 491–544. http://dx.doi.org/10.1017/s0021853701478145.
Texte intégral
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Bianchi, Victoria. « Flexible Characterization : Herstorical Performance in Heritage Sites ». New Theatre Quarterly 36, no 4 (novembre 2020) : 355–68. http://dx.doi.org/10.1017/s0266464x20000603.
Texte intégralRésumé :
This article explores how performance and character can be used to represent the lives of real women in spaces of heritage. It focuses on two different site-specific performances created by the author in the South Ayrshire region of Scotland: CauseWay: The Story of the Alloway Suffragettes and In Hidden Spaces: The Untold Stories of the Women of Rozelle House. These were created with a practice-as-research methodology and aim to offer new models for the use of character in site-specific performance practice. The article explores the variety of methods and techniques used, including verbatim writing, spatial exploration, and Herstorical research, in order to demonstrate the ways in which women’s narratives were represented in a theoretically informed, site-specific manner. Drawing on Phil Smith’s mythogeography, and responding to Laurajane Smith’s work on gender and heritage, the conflicting tensions of identity, performance, and authenticity are drawn together to offer flexible characterization as a new model for the creation of feminist heritage performance. Victoria Bianchi is a theatre-maker and academic in the School of Education at the University of Glasgow. Her work explores the relationship between space, feminism, and identity. She has written and performed work for the National Trust for Scotland, Camden People’s Theatre, and Assembly at Edinburgh, among other institutions.
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Taylor, Yvette. « ‘Negotiation and Navigation - an Exploration of the Spaces/Places of Working-class Lesbians’ ». Sociological Research Online 9, no 1 (février 2004) : 47–58. http://dx.doi.org/10.5153/sro.887.
Texte intégralRésumé :
This article draws upon my research on working-class lesbians, which explores the relationship between class, sexuality and social exclusion. Research participants were drawn mainly from Scotland (Glasgow, Edinburgh and the Highlands), with smaller samples in Yorkshire and Manchester; in total fifty-three women took part, most being interviewed individually, others as part of three focus groups, and a couple in ‘paired’ interviews. The significance of sexuality and class position is highlighted across various social sites from family background and schooling to work experiences and leisure activities. The women's own identifications, understandings and vivid descriptions point to the continued salience of class as a factor in shaping life experiences. This article focuses primarily on the women's ‘sense of place’ and their relations to the often devalued territories that they inhabit. The relationship between sexual identity and class has received little academic attention - here the ‘gaps’ in the literature pertaining to ‘lesbian and gay’ space, and to (de-sexualised) class space, will be identified. By including empirical data I offer a picture of the ways in which classed spaces is sexualised and sexualised space is classed and suggest that space is constitutive of identity in terms of where it places people, both materially and emotionally.
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Oommen, Susan. « Inventing Narratives, Arousing Audiences : the Plays of Mahesh Dattani ». New Theatre Quarterly 17, no 4 (novembre 2001) : 347–56. http://dx.doi.org/10.1017/s0266464x00014986.
Texte intégralRésumé :
In this article Susan Oommen looks at the plays of the popular Indian dramatist Mahesh Dattani as conversations between the writer and his audience on models of reality, and interprets their performance as moments in subjectivization. In initiating an audience into redefining identity, she argues that Dattani provides the parameters within which problematizations may be reviewed and better understood. He also seeks to queer the debate on Indian middle-class morality, thereby challenging its privileged status and underscoring the interconnection between repression and invisibility. The question for the audience is whether Dattani's plays can cue them into experiences of resistance and encourage them to reinvent narratives that may then function as personal histories. One of the plays on which this article focuses, Dance Like a Man, was seen during this year's Edinburgh Festival as part of the Celebration of Indian Contemporary Performing Arts. Susan Oommen works in the English Department in Stella Maris College, India, where she has been on the faculty since 1975. She spent the past academic year at the Institute for Research on Women at Rutgers University.
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Ньюман Джон. « The Linguistics of Imaginary Narrative Spaces in Daphne du Maurier’s Rebecca ». East European Journal of Psycholinguistics 5, no 2 (28 décembre 2018) : 42–61. http://dx.doi.org/10.29038/eejpl.2018.5.2.new.
Texte intégralRésumé :
Daphne du Maurier’s 1938 novel Rebecca provides rich opportunities for the study of imaginary narrative spaces and the language associated with such spaces. The present study explores the linguistics of the imaginary narrative spaces in Rebecca, drawing upon three lines of linguistic research consistent with a Cognitive Linguistic approach: (i) an interest in understanding and appreciating ordinary readers’ actual responses (rather than merely relying upon “expert” readers’ responses), (ii) the construction of worlds or “spaces”, and (iii) the application of ideas from Cognitive Grammar. The study reveals a surprisingly intricate interplay of linguistic devices used in the construction of imaginary narrative spaces and the maintenance of such spaces in extended discourse.
References
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Beauman, S. (2003). Afterword. In Daphne du Maurier’s Rebecca (pp. 429-441). London: Virago Press.
Biber, D., Johansson, S., Leech, G., Conrad, S., & Finnegan, E. (Eds.) (1999). Longman grammar of spoken and written English. Harlow, UK: Pearson Education Limited.
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Du Maurier, D. (2012). Rebecca. London: Virago Press.
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Hadiyanto, H. (2010). The Freudian psychological phenomena and complexity in Daphne Du Maurier’s “Rebecca” (A psychological study of literature). LITE: Jurnal Bahasa, Sastra, Dan Budaya 6(1), 14-25. Available at: https://publikasi.dinus.ac.id/index.php/lite/article/ view/1348/1014.
Harrison, C., Nuttall, L., Stockwell, P., & Yuan, W. (Eds.) (2014). Cognitive grammar in literature. Amsterdam & New York: John Benjamins.
Harrison, C., & Stockwell, P. (2014). Cognitive poetics. In J. Littlemore and J. R. Taylor (Eds.), The Bloomsbury companion to cognitive linguistics (pp. 218-233). London: Bloomsbury.
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Leech, G. N. (1969). A linguistic guide to English poetry. London: Longman Group Limited.
Margawati, P. (2010). A Freudian psychological issue of women characters in Daphne Du Maurier’s novel Rebecca. LANGUAGE CIRCLE: Journal of Language and Literature IV(2), 121-126. Available at: https://journal.unnes.ac.id/nju/index.php/LC/article/viewFile/900/839
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Werth, P. (1999). Text worlds: Representing conceptual space in discourse (M. Short, Ed.). Harlow, UK: Longman.
Wilde, O. (1996). The picture of Dorian Gray. In The complete Oscar Wilde: The complete stories, plays and poems of Oscar Wilde (pp. 11-161). New York: Quality Paperback Book Club.
Winifrith, T. J. (1979). Daphne du Maurier. In J. Vinson (Ed.), Novelists and prose writers (Great writers of the English language) (pp. 354-357). New York: St. Martin’s Press.
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Judd, Fiona, Stephanie Lorimer, Richard H. Thomson et Angela Hay. « Screening for depression with the Edinburgh Postnatal Depression Scale and finding borderline personality disorder ». Australian & ; New Zealand Journal of Psychiatry 53, no 5 (12 octobre 2018) : 424–32. http://dx.doi.org/10.1177/0004867418804067.
Texte intégralRésumé :
Objective: The aim of the study was to explore the range of psychiatric diagnoses seen in pregnant women who score above the ‘cut-off’ on the Edinburgh Postnatal Depression Scale when this is used as a routine screening instrument in the antenatal period. Method: Subjects were all pregnant women referred to and seen by the Perinatal Consultation-Liaison Psychiatry Team of a tertiary public hospital over a 14-month period. Edinburgh Postnatal Depression Scale score at maternity ‘booking-in’ visit, demographic and clinical data were recorded and diagnoses were made according to Diagnostic and Statistical Manual of Mental Disorders (5th ed.) criteria following clinical interview(s) and review of documented past history. Data were analysed using descriptive statistics. Results: A total of 200 patients who had completed the Edinburgh Postnatal Depression Scale were seen for assessment; 86 (43%) scored ⩾13 on Edinburgh Postnatal Depression Scale. Of those scoring 13 or more on Edinburgh Postnatal Depression Scale, 22 (25.6%) had a depressive disorder. In total, 12 patients (14%) had an anxiety disorder, 14 (16.3%) had borderline personality disorder and 13 (15.1%) had a substance use disorder. An additional 23 women (26.7%) had two or more borderline personality traits. Conclusion: Psychiatric assessment of women who scored 13 or more on the Edinburgh Postnatal Depression Scale at routine antenatal screening identified a significant number with borderline personality disorder or borderline personality traits rather than depressive or anxiety disorders. Clinical Practice Guidelines note the importance of further assessment for all women who score 13 or more on the Edinburgh Postnatal Depression Scale. The findings here suggest that this assessment should be made by a clinician able to identify personality pathology and organise appropriate and timely interventions.
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Stasik-O’Brien, Sara M., Jennifer E. McCabe-Beane et Lisa S. Segre. « Using the EPDS to Identify Anxiety in Mothers of Infants on the Neonatal Intensive Care Unit ». Clinical Nursing Research 28, no 4 (6 novembre 2017) : 473–87. http://dx.doi.org/10.1177/1054773817740532.
Texte intégralRésumé :
Despite the prevalence of postpartum depression and anxiety, current screening recommendations are limited to depression symptoms. Screening using the Edinburgh Postnatal Depression Scale–Anxiety subscale (EPDS-A) may enhance ability to detect distress in postpartum women. We aimed to replicate the EPDS-A in 200 mothers with infants hospitalized in the neonatal intensive care unit (NICU) and examine its incremental utility in identifying emotional distress. Presence of the EPDS-A was identified using exploratory factor analysis. Women experiencing elevated anxiety were identified using a previously established cutoff score. Results replicated the EPDS-A for the first time in mothers with infants hospitalized in the NICU. In all, 21.9% of these women had elevated anxiety symptoms and nearly one quarter of them would have been missed in routine depression screening. Use of the EPDS-A, in addition to the total EPDS score, is a promising approach to identifying anxious women in need of further evaluation, treatment, or support.
Thèses sur le sujet "Women – Identity – Edinburgh"
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ORR, Katherine. « Continuity and change in female identity : the experience of women in Edinburgh 1919-39 ». Doctoral thesis, 1996. http://hdl.handle.net/1814/5926.
Texte intégralRésumé :
Defence date: 11 November 1996Examining board: Prof. Miriam Glücksmann, University of Essex ; Prof. Olwen Hufton, EUI (supervisor) ; Prof. Jane Lewis, All Souls College, Oxford ; Prof. Stana Nenadic, University of Edinburgh ; Prof. Luisa Passerini, EUI
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
Livres sur le sujet "Women – Identity – Edinburgh"
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Kent, Miriam. Women in Marvel Films. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.001.0001.
Texte intégralRésumé :
The concept of identity in superhero narratives has become a burgeoning field in academic studies of this increasingly popular cinematic genre. Women in Marvel Films provides the first rigorous analysis of the portrayals of women, heroic and otherwise, in films based on Marvel comics from the 1980s to the present. It explores the relationships between this cultural phenomenon and wider issues of gender equality, considering the cultural moments in which Marvel films are made and incorporating complex histories of the comic book and Hollywood industries. Highlighting characterisations of women, narratives and cinematic elements such as music and mise-en-scène, and questioning how these elements collectively engage with gendered discourses, the discussion also positions previous iterations of women in Marvel comic book narratives as highly relevant. Women in Marvel Films thereby considers how feminist issues surface within superhero adaptations and how they are dealt with via Hollywood and comic book conventions. This book ultimately shows how the Marvel superhero film taps into political complexities regarding gender and related identity issues, such as women’s roles in society and their relation to men, and provides a fascinating insight into gendered power dynamics in contemporary American popular culture. The films discussed include The Punisher (1989), Blade (1998), the X-Men series (2000–2020), Elektra (2005), and the films of the Marvel Cinematic Universe, including Black Panther (2018) and Captain Marvel (2019).
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Bashkin, Orit. The Lamp, Qasim Amin, Jewish Women and Baghdadi Men : A Reading in the Jewish Iraqi Journal al-Misbah. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430616.003.0012.
Texte intégralRésumé :
This chapter provides a detailed reading of al-Misbah, a Jewish Iraqi publication which appeared in Baghdad between the years 1924 and 1929 and has been characterised both as a Zionist mouthpiece and a testimony to the success of Arab nationalism. In addressing this apparent contradiction, the chapter examines the issues which dominated its pages in order to highlight the identity of the paper and to enrich our understanding of the Iraqi press under the British Mandate. The chapter addresses two discursive circles – the Iraqi and the Jewish – and proposes that al-Misbah conveyed an unmistakable Iraqi and Arab identity. Despite the editor’s Zionist inclinations, the conversations between readers and writers acquired a life of their own and the paper, in fact, promoted a new Arab Jewish identity and illustrated how Jews sought to use state institutions as venues for the cultivation of non-sectarian and democratic citizenship.
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González-López, Irene, et Michael Smith, dir. Tanaka Kinuyo. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409698.001.0001.
Texte intégralRésumé :
This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.
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Light, Alison. Alison Light - Inside History. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481557.001.0001.
Texte intégralRésumé :
Inside History addresses a number of the central preoccupations within feminist cultural criticism since the 1970s: the nature of writing by women and what women writers might or might not share; the place of such writing in any literary history or cultural analysis; the politics of popular culture and the question of pleasure; women’s relation to ideas of national identity, especially Englishness, and other forms of belonging; and finally, their contribution to life-writing. The volume offers a lively, wide-ranging way into feminist debates, touching on a number of major authors including Alice Walker, Virginia Woolf, Stevie Smith, and Caryl Churchill. It also explores genre fiction by authors such as Agatha Christie and Daphne du Maurier, and offers reflections on the writing of memoir, biography and the lives of so-called ‘ordinary people’. Chronologically arranged, the essays and short ‘think-pieces’ chart Alison Light’s own intellectual formation as a critic and writer within a wider collective politics. This is contextualised in an autobiographical introduction.
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Nenadic, Stana. Craftworkers in Nineteenth Century Scotland. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474493079.001.0001.
Texte intégralRésumé :
Craftworkers making fine goods using traditional techniques in wood, stone, metals or textiles, flourished in the nineteenth century, adapting to new technologies, creating new markets and exploiting new cultural devices, such as the great exhibitions, to showcase their wares and culture. But this side of Scotland’s history is conventionally overlooked. The book examines individuals, families and communities of craft workers and their changing experience in town and country. It looks at workplace dynamics and handmade wares shaped by personal consumption not industrial production, with craftsmen and women catering for mainly domestic and often leisure-motivated customers. It is about the ‘things’ that were made and the values they embodied at a time when Scotland became a great industrial powerhouse, but most Scots, be they workers or amateurs, were still engaged in hand making - for income or pleasure and personal and collective creative identity.
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Youssef, Mary. Minorities in the Contemporary Egyptian Novel. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474415415.001.0001.
Texte intégralRésumé :
This book examines questions of identity, nationalism, and marginalization in the contemporary Egyptian novel from a postcolonial lens. Under colonial rule, the Egyptian novel invoked a sovereign nation-state by basking in its perceived unity. After independence, the novel professed disenchantment with state practices and unequal class and gender relations, without disrupting the nation’s imagined racial and ethno-religious homogeneity. This book identifies a trend in the twenty-first-century Egyptian novel that shatters this singular view, with the rise of a new consciousness that presents Egypt as fundamentally heterogeneous. Through a robust analysis of “new-consciousness” novels by authors like Idris ᶜAli, Bahaᵓ Tahir, Miral al-Tahawi, and Yusuf Zaydan, the author argues that this new consciousness does not only respond to predominant discourses of difference and practices of differentiation along the axes of race, ethno-religion, class, and gender by bringing the experiences of Nubian, Amazigh, Bedouin, Coptic, Jewish, and women minorities to the fore of Egypt’s literary imaginary, but also heralds the cacophony of voices that collectively cried for social justice from Tahrir Square in Egypt’s 2011-uprising. This study responds to the changing iconographic, semiotic, and formal features of the Egyptian novel. It fulfills the critical task of identifying an emergent novelistic genre and develops historically reflexive methodologies that interpret new-consciousness novels and their mediatory role in formalizing and articulating their historical moment. By adopting this context-specific approach to studying novelistic evolution, this book locates some of the strands that have been missing from the complex whole of Egypt’s culture and literary history.
Chapitres de livres sur le sujet "Women – Identity – Edinburgh"
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Piotrowska, Agnieszka. « Marie Colvin – The War Hero and the ‘Nasty Woman’ ». Dans Mediating War and Identity, 171–91. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446266.003.0010.
Texte intégralRésumé :
This chapter focuses on the iconic war correspondent Marie Colvin, who was killed in a bombardment during the siege of Homs. Bringing together autoethnographic and scholarly modes of analysis, and drawing on the concept of the ‘nasty woman’ (Piotrowska 2019) and a Lacanian reading of Sophocles’ Antigone, the essay challenges normative accounts of Colvin’s life, and interrogates the narratives of transgression that circulate around women war correspondents.
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Hughes, Annmarie. « ‘A Docile Workforce’ ? Women, Work and Political Identity ». Dans Gender and Political Identities in Scotland, 1919-1939, 83–102. Edinburgh University Press, 2010. http://dx.doi.org/10.3366/edinburgh/9780748639816.003.0005.
Texte intégral
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Tilley, Elizabeth. « Negotiating Female Identity in Nineteenth-Century Ireland ». Dans Women, Periodicals and Print Culture in Britain, 1830s-1900s, 69–83. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433907.003.0006.
Texte intégralRésumé :
Periodicals such as the Englishwoman’s Domestic Magazine were created in England but were often read in diverse locations within the British Empire and beyond. Indeed, as Elizabeth Tilley notes in this chapter, women in Ireland often had no choice but to read magazines and newspapers produced in the metropole. Consequently, she notes, it is ‘difficult to establish the cultural influence of Irish-produced periodicals, including those aimed at women, before the 1870s’ (69). The emergence of periodicals such as the Emerald; The Irish Ladies’ Journal (1870–1) demonstrated that there was a sufficient local market to support Irish periodicals for women. The journal not only incorporated fashion, recipes, and domestic advice but also information about women’s educational and employment opportunities. Still, it was ‘not until well into the twentieth century that women claimed a larger share of the public sphere and its cultural products’ (83).
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Al-Hassan, Hawraa. « The Infamous Iraqi Majidat : Chastity, Chivalry and Collective Identity in the Novels of Saddam Hussein ». Dans Women, Writing and the Iraqi Ba'thist State, 64–104. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441759.003.0003.
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This chapter argues that taken as a whole, the four novels of Saddam Hussein, written in as many years, epitomize the Ba‘thist state’s contradictory discourses on women. The chapter distinguishes between texts set in ancient Mesopotamia, with their emphasis on ‘liberal’ views on issues such as adultery and female political leadership, and more conservative texts set in modern Iraq, with their emphasis on traditional tribal and religious values. Ultimately, the tension in Saddam’s oeuvre seems to be between woman as symbol and woman as real person, whereby the former represents the Ba‘th’s supposedly progressive agendas, whereas the latter reflects the Party’s adoption of conservative discourses and policies vis a vis women.
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Motrescu-Mayes, Annamaria, et Heather Norris Nicholson. « Webs of Production and Practice ». Dans British Women Amateur Filmmakers, 30–56. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0002.
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Chapter 2 explores women’s strategic role as clubs grew up to support amateur activity. Unlike the early colonial cine club scene that was largely male dominated, Britain's cine club scene involved women from the outset and echoes other gendered patterns of associational and voluntary activity. Previously unavailable films, club records and interviews identify significant contributions by award-winning women practitioners, as mentors, adjudicators, writers, teachers and committee members that facilitate local to international events and bridge the transition from analogue into digital activity. Interviews reveal how healthier, personally wealthier and active retirees still sustain roles carved out by their pioneering predecessors. Background, education, marital status, paid employment and domestic roles contextualise how women maintained local groups during wartime, filmed club life and made films alone or with other members. Some became fundraisers, all became keen advocates and for some, film became part of their identity, whether working in non-fiction, fiction, experimental filmmaking or animation.
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Robertson, Lisa C. « ‘Vital friendship’ : Sexual and Economic Ambivalence in Rhoda Broughton’s Dear Faustina ». Dans Home and Identity in Nineteenth-Century Literary London, 133–53. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474457880.003.0008.
Texte intégralRésumé :
This chapter examines Rhoda Broughton’s novel Dear Faustina (1879), which engages with the conventions of the New Woman novel for the purpose of commenting on the difficult social position of independent women. The novel’s representation of two key forms of new housing, women’ residences (or ladies’ chambers) and settlement housing, uncovers the way that these new domestic spaces made legible the relationship between economic and sexual power. While this novel has often been interpreted as a narrative of inversion or exchange between homosocial and heterosexual relationships, this chapter focuses on the ways that the novel is instead characterised by ambivalence in both form and theme.
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Kent, Miriam. « Playing Superheroine : Feminine Subjectivity and (Postfeminist) Masquerade ». Dans Women in Marvel Films, 93–118. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.003.0005.
Texte intégralRésumé :
This chapter provides an interrogation of the relevant notions of postfeminist masquerade with regards to Marvel superheroines, a widely-occurring narrative phenomenon that is also inflected by contemporary postfeminist practices and a mode of representation that has noticeably proliferated in these texts. Building on existing scholarship, the chapter examines the notion of the superheroine undercover, a tradition that reaches back to foundational popular feminist texts such as Charlie’s Angels (ABC, 1976–1981) and questions the implications of this tradition in the context of contemporary superheroic feminine identity. Taking account of the constructed qualities of femininity, contemporary superheroines are often introduced in disguise with the film’s narrative positioning them as ordinary civilian women before divulging their heroism. This narrative turn occupies a specific ideological role relating to postfeminist culture. This concept is explored using The Avengers’ (2012) Natasha Romanoff and expanded on in a discussion of identity crisis in the superheroine Captain Marvel.
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Haefele-Thomas, Ardel. « Queering the Female Gothic ». Dans Women and the Gothic. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699124.003.0012.
Texte intégralRésumé :
Queering the Female Gothic’ examines work by women writers from the 1890s onwards who use the Gothic to create covert and/or overt queer situations and characters. These are often used to explore cultural and social concerns, such as restrictive patriarchal and hetero-normative family structures, the medical pathologisation of female and genderqueer bodies, institutions of racism and sexism within colonial and slave narratives, and contemporary issues surrounding the intersections of sexuality, race, class and gender identity. The chapter examines the work of a number of American and British women authors who have employed the Gothic as a proverbial safe space in which to explore these concerns; they include Vernon Lee, Florence Marryat, Carson McCullers, Toni Morrison, Maryse Condé, Jane Chambers, Jewelle Gomez, Sarah Waters, Yvonne Heidt and Cate Culpepper. Not only do their fictions encompass queer characters and scenarios in terms of gender identities outside of the male/female binary and the full spectrum of queer sexual orientation, but the authors themselves, taken as a group, embody the full spectrum as far as gender identity and sexual orientation are concerned.
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Horner, Avril, et Sue Zlosnik. « Introduction ». Dans Women and the Gothic. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699124.003.0001.
Texte intégralRésumé :
Since the early debates about ‘Female Gothic’ in the 1970s and 1980s, inspired by Second-Wave Feminism, the theorisation of gender has become increasingly sophisticated and has resulted in a long interrogation of the category ‘woman’. There was, however, a political price to pay for this, in so far as feminism gave way to the problematics of post-feminism, now itself being interrogated by a younger generation of women. The contributors in this volume tackle such conundrums in lively chapters that explore Gothic works – from established classics to recent films and novels – from feminist and/or post-feminist perspectives. The result is a book that combines rigorous close readings with elegant use of theory in order to question some ingrained assumptions about women, the Gothic and identity....
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Motrescu-Mayes, Annamaria, et Heather Norris Nicholson. « Through Women’s Lens : Imperial and Postcolonial Class and Gender Hierarchies ». Dans British Women Amateur Filmmakers, 110–32. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0005.
Texte intégralRésumé :
This chapter charts how changing geo-political relations during late colonialism influenced conventional imperial ideologies of race, gender and identity and brought about a fundamental shift in women’s visual literacy. Through their unofficial, un-commissioned and private visual records of early post-colonial history, women were often able to promote new understandings of political, racial and gender transformations specific to crucial times for the British Empire and the Commonwealth. It argues that British women amateur filmmakers transcended traditional historical discourses in recording their own first-person narratives. The chapter centres on the analysis of particular sequences filmed in markedly different geo-political contexts by Queen Elizabeth II, Audrey Lewis, and two of Maharaja Vijaysinhji of Rajpipla’s British female friends. Their films prompt new perspective on how and why British women amateur filmmakers chose to record men as possible agents of national and imperial post-colonial identity. The cine-women discussed in this chapter witnessed and filmed radical shifts in representations of gender-driven, post-imperial roles within specific cultural norms and opportunities. As a result, questions of gendered and visual appropriation are considered in relation to feminist and postcolonial theories while acknowledging that the interpretation of British women's amateur visual practice often requires new methodologies and interdisciplinary approaches.