Gotowe bibliografie tematyczne / Women in art

Gotowa bibliografia na temat „Women in art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Women in art"

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

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Gordon Atkinson, Anne. "Women in Art". Journal of Baha’i Studies 4, nr 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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Köse, Zuhal, i 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, nr 3 (31.07.2021): 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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Mathews, Patricia, i Whitney Chadwick. "Women, Art, and Society (World of Art)". Art Bulletin 73, nr 2 (czerwiec 1991): 336. http://dx.doi.org/10.2307/3045802.

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

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

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

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

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

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

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Rozprawy doktorskie na temat "Women in art"

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Meneses, Romero Mariana. "Women cooking art : hospitality and contemporary art practices". Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.

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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.
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Erickson, Bonnie. "ART THERAPY TREATMENT WITH INCARCERATED WOMEN". Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2615.

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This study examined the effectiveness of art therapy in decreasing symptoms of trauma and psychological distress in women who were incarcerated in county jails in the Southeastern United States. In order to protect the integrity of the study, control subjects were in different dormitories from the treatment subjects. While the dormitories were randomly assigned to treatment or control, the subjects were not. The dependent measures were paper and pencil tests, the Outcome Questionnaire (OQ-45.2) and the Trauma Symptom Inventory (TSI) given at pretest and posttest. A demographic questionnaire was completed in the first session to better characterize the participants. In addition, a post study evaluation with open ended questions was completed at the end of the study that allowed participants to share their feelings about the treatment experience. Additional qualitative information was obtained through observation data collected by the investigator who served as the provider of treatment. Art therapy group participants attended six sessions of art therapy over a three week period which was administered using six standard art projects. Like treatment subjects, control participants had access to the treatment available in the jail to all inmates, and were offered art therapy treatment after final data were obtained. Though the statistical data gathered in this study did not provide empirical evidence that the group art therapy treatment was effective in reducing symptomatology, the qualitative responses indicated that the treatment was rated very positively by the participants. No statistically significant changes were found in overall scores, however, some significance was found on some individual treatment scales. Scores measuring psychological distress and trauma symptoms generally decreased over time for all study participants, however, treatment participant scores improved at a greater rate. The study was limited due to small sample size (N=26). Nearly half of the original participants were lost to attrition associated with administrative actions in the county jail system. The measurement instruments used were not specifically adapted to incarcerated individuals and may not have provided adequate measurement for this population. Responses from the participants were overwhelmingly positive. Inmates responses to the post study evaluation indicated that they had enjoyed the experience and would recommend the group to others. More than 75% stated that they felt that the treatment had helped them deal with difficult experiences in their past. The most frequent suggestion for the future was that the groups needed to be continued, and should be longer and more frequent.
Ph.D.
Department of Child, Family and Community Sciences
Education
Education PhD
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Watson, Mary Jo. "Oklahoma Indian women and their art /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1993.

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Lennox, Jordana Kay. "Envisioning the new woman : women and art in Weimar Germany 1918-1933 /". Title page, table of contents and introduction only, 2004. http://web4.library.adelaide.edu.au/theses/09AR/09arl568.pdf.

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Turner, Sharon Kay Richey. "Bigger God, stronger women helping women expand their God imagery through art /". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p075-0072.

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Bradley, Jessica. "Postmodern bodies and feminist art practice". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.

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This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.
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Hanna, Heather. "Women framing hair : serial strategies in contemporary art". Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551616.

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This thesis explores the complex and enigmatic motif of hair in the work of five contemporary women artists, Chrystl Rijkeboer, Alice Maher, Annegret Soltau, Kathy Prendergast and Ellen Gallagher, from the late 1970s to the present. The purpose of the research is to investigate why hair is such a productive and resonant site of meaning, how it is suggestive of and responds to serial strategies, and why it appears to be of particular significance to women who are artists. I explore the implications of hair as an embodied material, as well as its role as a haptic metaphor of the life cycle. I also discuss some of the divergent histories of hair as a rich marker of identity in cultural discourses of beauty, myth and femininity, and as a symbol of status and power. What might be seen as a darker, more liminal side of hair as a site of excess and body waste, and its ability to represent trauma and 'wounding', are also explored. As I argue, through its somatic connections hair can be positioned both of, and yet abjected from, the living body. Informed by a range of theoretical approaches, this research has drawn on Julia Kristeva's theorizations of the abject, Helene Cixous's notion of ecriture feminine, and a Deleuzian consideration of difference. A major concern is the different artists' strategies and negotiations with notions of seriality, which enable rich and compelling possibilities for writing the female body in imaginative and fluid ways. This, together with gender issues, identity and the body - specifically the head - and memory as a marker of biography, are key themes throughout the thesis. In combination with its historiography, the medium of hair and its simulacra in art practice are seen to have the potential to challenge and subvert conceptions of feminine identity and some of the bastions of traditional painting and sculpture.
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Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914". Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.

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Aydemir, Cigdem. "Image and Voice: Muslim women in Contemporary Art". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15723.

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This paper investigates the Western image of the Muslim woman in the context of contemporary art. Through my art practice I use the veiled woman cipher to reflect on personal experiences whilst broadening definitions and displacing hegemonic representations of veiling and Muslim women in an Australian cultural context. These are exemplified through autobiographical elements, parody in the Extremist Activity series, performative interventions illustrating the concept of the body as an occupied site and architectural devices that (re)create notions of inclusion, exclusion and otherness in space. From loquacious and overbearing noblewomen to helpless harem slaves awaiting rescue by her Orientalist saviours, an analysis of the development of the Muslim woman’s image throughout history reveals the shifting and contingent nature of her role in the Western imagination. Finally, an examination of current representations of Muslim women in Australian contemporary art demonstrates how these images often repeat and reinforce, rather than depart from, Orientalist and neo-Orientalist constructs.
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Turner, M. K., of Western Sydney Nepean University i School of Contemporary Arts. "Representation and womens art". THESIS_XXX_CAR_Turner_M.xml, 1998. http://handle.uws.edu.au:8081/1959.7/732.

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The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life
Master of Arts (Hons)
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Książki na temat "Women in art"

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Krull, Edith. Women in art. [Leipzig]: Edition Leipzig, 1986.

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Chadwick, Whitney. Women, art, and society. Wyd. 3. London: Thames and Hudson, 2002.

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Halgand, Nathalie, i Daniel Leidenfrost. Women, Street, Art & Studio. Weitra: Verlag Bibliothek der Provinz, 2014.

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Arlene, Raven, red. Exposures: Women & their art. Pasadena, Calif: NewSage Press, 1989.

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Chadwick, Whitney. Women, art, and society. Wyd. 2. London: Thames and Hudson, 1996.

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Chadwick, Whitney. Women, art, and society. New York: Thames and Hudson, 1990.

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Bhadouria, G. S. Women in Indian art. Delhi: Agam Kala Prakashan, 1995.

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Centre for Contemporary Arts (Glasgow, Scotland) i Women on Art Symposium (1997 : Glasgow, Scotland), red. Women on art 1997. Glasgow: CCA, 1997.

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Women in Art Organisation of Trinidad and Tobago., red. Women in art 2000. [Port of Spain, Trinidad and Tobago: s.n., 2000.

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Gustav, Klimt. Women. London: Weidenfeld and Nicolson, 1986.

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Części książek na temat "Women in art"

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Sanz-Aránguez Ávila, Belén, i María del Río Diéguez. "Art Therapy and Gender". W Psychopathology in Women, 841–62. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15179-9_36.

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del Río Diéguez, María, i Belén Sanz-Aránguez Ávila. "Psychopathology, Art, and Gender". W Psychopathology in Women, 389–405. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-05870-2_16.

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Figg, Linda. "Creating Bridges as Art". W Women in Infrastructure, 173–97. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92821-6_9.

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Hopper, Gill. "Women and Art Education". W Palgrave Studies in Gender and Education, 108–45. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137408570_4.

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Delia, Gaze. "Academies of Art". W Concise Dictionary of Women Artists, 20–33. New York: Routledge, 2013. http://dx.doi.org/10.4324/9780203058800-3.

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Gatlin, Rochelle. "Education, Art and Spirituality". W American Women Since 1945, 153–66. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18896-3_9.

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Peruzzi, Bice. "Infernal Women". W Beauty and Monstrosity in Art and Culture, 49–60. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003327516-7.

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Gooptu, Subhalakshmi. "Working Women". W Teaching Labor History in Art and Design, 90–105. New York: Routledge, 2024. http://dx.doi.org/10.4324/b23187-8.

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Visoná, Monica Blackmun. "Women and Art in Africa". W The Palgrave Handbook of African Women's Studies, 1–20. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-77030-7_145-1.

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Farrell, Susan E. "Art, Domesticity, and Vonnegut’s Women". W New Critical Essays on Kurt Vonnegut, 91–111. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100817_6.

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Streszczenia konferencji na temat "Women in art"

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Ramadhanita, Shalihah. "Women Art and Its Disclosure". W 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008557301860190.

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Tomassoni, Rosella, Stefania Liburdi i Annalisa Marsella. "THE ROLE OF WOMEN IN THE HISTORY OF ROMAN RELIGION: FROM VESTALE TO MADONNA". W 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs06.07.

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Introduction: Within the concept of women in the archaic Roman era, the present paper will attempt a believable reconstruction of the passage of the vestal woman figure, subjected to the male �potestas� of the �pontfex maximus� in which Eros was sacrificed to the Civitas due to the blackmail of equal rights, to the recovery of the woman as an object of Christian contemplation. Objective and Method: The aim of this article, through the analysis of recognized sources, is to study the axiom according to which the Roman woman was considered equal to the man in society (for roles, reputation, legal capacity, and public image), only playing the religious role of vestal, which denied her femininity.Throughout history, male domination was revealed in all fields, still in the religious field, until the advent of Christianity which re-evaluated the woman through the figure of the Madonna, attributing to her the role of mother of the creator. Topic: The figure and role of women in ancient Rome did not disregard religion. In that period, the various female personalities could be identified in the figures of: matrons, prostitutes, commoners, vestals, all of which were characterized by enslavement to the particular patriarchal figure (pater, husband or pontifex). Only the vestal priestesses would seem to be excluded from the list of figures subject to male protagonists. The woman, considered tender and soft (�mollis, �mulier�, the most fragile) was completely excluded from important roles in Roman society.The juridical position of the Roman woman is obtained in the law of the XII tables (451-450 BC): "Feminas, etsi perfectae aetatis sint, in tutela esse, exceptis virginibus Vestalibus" - "The women are all to be under protection, although they are adults, except the Vestal virgins". Vestal women could juridically act like a man only if subjected to the temple of the goddess Vesta; in a psychoanalytic analysis, therefore, the counterpart was the renunciation of femininity, which was imposed by the thirty-year chastity they had to abide by. Throughout history, male domination was revealed in all fields, still in the religious field, until the advent of Christianity which re-evaluated the woman through the figure of the Madonna, attributing to her the role of mother of the creator. Conclusion: In conclusion, with this article, we will analyse how the Roman religions (polytheistic and monotheistic) have contributed, throughout history, to subjecting women to male domination and to attributing a negative and sinful image to them, until the advent of Christianity. The psychologist feels the need to address a question: what of this primordial essence of the feminine scares the man of every age?
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Morbey, Mary Leigh. "Getting women wired". W ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253654.

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Chen, Yuefei, i Xiwen Chi. "Women Should Write Themselves". W 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.033.

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Zhao, Chenchen. "The Imprisoned “Crazy Women”". W proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.495.

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Daraklitsa, Elina. "THE SYMBOLISMS AND DRAMATURGIC NOTIONS IN THE TROJAN WOMEN UNDER JEAN PAUL SARTRE�S POLITICAL AND PHILOSOPHICAL VIEW". W 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s03.03.

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The present study examines the contemporary rewriting in the French language of Euripides' play The Trojan Women by Jean Paul Sartre. The French philosopher having the intention once more to deal with humanity�s big problems, he intensifies Euripides� text with elements drawn from modern society and era. The theme dealt with is war and suppression, along with their conviction, a pattern especially popular with the creator since it is the one he deals with in his debut drama Bariona ou le fils de tonnerre (1940). Also, The Trojan Women (1964) linguistic style matches that of Bariona and Nekrassov (1955), since the personalities of the main heroes in all three plays are governed by the same notions: self � denial, rebelliousness and a firm belief in the ideals. The element which distinguishes the abovementioned texts from the rest of the writer�s dramaturgic work is their abstinence from an existential and psychological � analytical spirit. Thus, the existentialist dramaturgist�s familiar speech with which so many scholars have been preoccupied is almost absent from The Trojan Women. The Sartre�s goal is to �shout out loud� Euripides� big truths and in order to achieve it, he instills into his heroes additional characteristics, thus giving them an even more rebellious and aggressive constitution than the already existing one, expressed by a modern glossolalia. In The Trojan Women, the pioneer writer also deals with the impaired place of woman in contemporary society, an idea also existing in current days.
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Huang, Yimiao, i Jiaru Zheng. "Stigmatization of Women in Chinese Society". W 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.077.

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Huang, Xin. "Violence Against Women in Evelina". W Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.44.

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Rani, Usha. "“Creative Expression of Native Folk Art”(Folk women of Northern India)". W 2nd International Conference on Modern Research in Social Sciences. Global, 2019. http://dx.doi.org/10.33422/2nd.icmrss.2019.09.614.

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Dahle, Reena, Lori Jockers, Alicia Scott i Katherine Wilson. "Major in engineering, minor in art: A new approach to retaining females in engineering". W 2017 IEEE Women in Engineering (WIE) Forum USA East. IEEE, 2017. http://dx.doi.org/10.1109/wie.2017.8285604.

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Raporty organizacyjne na temat "Women in art"

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.7033.

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, marzec 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Vishwanath, Arundathi. Theatre and Art in Education for Young Women with a Focus on Theatre of the Oppressed Techniques and Embodied Therapeutic Practices. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf0105.2023.

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This project unfolded in Nanahar village in the Kangra district of Himachal Pradesh. The main objectives of this project were to spark critical thought and action amongst the participants of the programme, facilitate a process to reclaim one’s agency, equip the participants with theatre facilitation skills and equip the organisation with a theatre and art in education curriculum. The project timeline was September 2021–October 2022. A pilot workshop was initially conducted with 24 women enrolled in a skill development course, and consequently a longer 16-week workshop series was conducted for a group of 33 women.
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Davies, Sharyn. Where are Indonesia's women leaders? Redaktor Grace Jennings-Edquist. Monash University, marzec 2024. http://dx.doi.org/10.54377/e162-b485.

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Bustelo, Monserrat, Verónica Frisancho i Mariana Viollaz. What Policies are Effective at Eradicating Violence Against Women? Inter-American Development Bank, grudzień 2023. http://dx.doi.org/10.18235/0005342.

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Violence against women is widespread in Latin America and the Caribbean. On average, every day, 10 women are murdered in the region, and of the 25 countries with the highest rates of femicide in the world, 13 are in this region. Violence against women invades womens everyday lives and takes place in both public and private spheres and within all socioeconomic groups. Most femicides are committed by their partners or former partnersone out of every three women between the ages of 15 and 49 in the region have experienced physical and/or sexual violence at the hands of a partner, with rates ranging between 17% (for the Dominican Republic) and 53% (for Bolivia). Violence against women has a negative impact (physical and psychological) on the health of victims, and it also affects their economic decisions and opportunities for development. Additionally, it increases the probability that children suffer abuse, corporal punishment, and/or negligent/dysfunctional care as well as the likelihood that minors end up reproducing this behavior when they are adults, perpetuating the cycle of violence.
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Sauer, Nancy. The Arc of Women at LANL. Office of Scientific and Technical Information (OSTI), sierpień 2014. http://dx.doi.org/10.2172/1149977.

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Bustelo, Monserrat, Verónica Frisancho i Mariana Viollaz. What Are the Gaps in Health and Education That Women Face Throughout Their Lives? Inter-American Development Bank, grudzień 2023. http://dx.doi.org/10.18235/0005344.

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In recent years, significant progress has been made toward implementing policies and programs to support gender equity in Latin America and the Caribbean. However, large disparities continue to exist between men and women in educational and health outcomes. In the region, girls perform better than boys in soft skills and language at an early age and the school attendance gaps favor women at all levels. However, once in school, male students tend to perform better in mathematics in standardized tests compared to their female peers at age 15, with important implications for womens decisions on their future educational and career paths. At the same time, a large proportion of women in the region still lack access to reproductive technology. The maternal mortality rate remains high and tends to correlate with both low income levels and lack of prenatal care. Also, the rate of teen motherhood (1519 years old) is very high.
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Lahey, Joanna. Understanding why black women are not working longer. Cambridge, MA: National Bureau of Economic Research, wrzesień 2016. http://dx.doi.org/10.3386/w22680.

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Kiptot, E., i S. Franzel. Gender and Agroforestry in Africa: are women participating. World Agroforestry Centre (ICRAF), 2011. http://dx.doi.org/10.5716/op16988.

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Kuhn, Peter, i Marie-Claire Villeval. Are Women More Attracted to Cooperation Than Men? Cambridge, MA: National Bureau of Economic Research, sierpień 2013. http://dx.doi.org/10.3386/w19277.

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