Teses / dissertações sobre o tema "Women artists – history – 20th century"
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Tvardovskas, Luana Saturnino 1983. "Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.
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Orientador: Luzia Margareth RagoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História
2
Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century". Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.
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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.
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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)". Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.
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Baguley, Margaret Mary. "The deconstruction of domestic space". Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
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Introduction:
I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms
that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170)
As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been
acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on
women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community
who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive
advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the
social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.
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Sharp, Leslie N. "Women shaping shelter". Diss., Georgia Institute of Technology, 2004. http://hdl.handle.net/1853/7268.
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Willis, Avery Tinch. "Euripides' Trojan women : a 20th century war play in performance". Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:bb57e1d3-b560-45f2-8cd9-64befab97bba.
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In this dissertation, I approach the interpretation of a classical text in performance by examining the practical elements (directorial and design choices: set, costumes, lighting, music, etc.) and promotional materials (programmes, press releases, photographs, etc.) for a selection of significant test cases in order to determine how these production decisions engage with external factors of political, intellectual, and cultural import. Trojan Women is a particularly useful case study to explore within the parameters of this method because the dynamism and immediacy of the play is most powerfully articulated when production choices allow for it to be wielded as a weapon of protest or reaction against contemporary policy, especially the waging of war. Using a chronological approach, this analysis of Trojan Women as a text for performance provides a broad and in-depth discussion of the reception of the play in the twentieth century, the period in which the ancient text was most frequently performed. Through the investigation of several influential productions on the international stage, and through an examination of the roles of key players (particularly Gilbert Murray and Jean-Paul Sartre), Trojan Women emerges as a play that offers theatre artists a unique and effective forum for debating issues of human responsibility in times of war a central theme in the play and a considerable preoccupation during a century of armed conflict. Chapter One discusses how the play was used to criticize imperial activity and promote ideological causes in the first half of the century. Chapters Two and Three draw attention to a major cluster of performances reflecting the spirit of international war protest in the 1960s and 1970s. Chapter Four addresses productions of the play affected by delayed responses to the Holocaust. Chapter Five features performances in the 1990s that respond to crises of civil conflict and genocide.
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Martyn, Elizabeth 1968. "Gender and nation in a new democracy : Indonesian women's organisations in the 1950s". Monash University, Dept. of Politics, 2001. http://arrow.monash.edu.au/hdl/1959.1/9112.
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Choi, Hoi-sze Elsie. "Working women in China and Japan in 20th century history : a comparative analysis /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23425556.
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葉翠蓮 e Chui-lin Yip. "Women's movement in Tianjin during the May Fourth Era=". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31641453.
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Wernitznig, Dagmar. "No documents, no history : a political biography of Rosika Schwimmer (1877-1948)". Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711810.
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Choi, Hoi-sze Elsie, e 蔡凱詩. "Working women in China and Japan in 20th century history: a comparative analysis". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31952975.
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Venkatesh, Archana. "Women, Medicine and Nation-building: The `Lady Doctor’ and Development in 20th century South India". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588949464255362.
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Wallace, Aurora. "Of shadowboxing and straw-women : postfeminist texts and contexts". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26354.
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This thesis is a discursive and historical analysis of the concept and usage of 'postfeminism' in contemporary feminist debates. The importance of the vocabulary used to frame these debates is demonstrated through a survey of popular feminist discourses in the 1920s, and the circulation of the term 'postfeminism' in 1980s and 1990s mainstream and feminist media, academic journals, and bestselling books. Foremost among these contexts are mainstream newspaper and magazine articles in which postfeminism is used as a descriptive term applied to trends in fashion, television and film. Through an investigation of the texts and contexts in which post feminism is used, associations to generational disparity, antifeminism, the 'death of feminism,' commercialism, and other 'post-' discourses such as postmodernism, will be illustrated. In the process, it will be demonstrated that feminism, as it is represented through discourses of postfeminism, resides in an area of cultural criticism which straddles the spheres of the academic and the popular.
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You, Xuesheng. "Women's employment in England and Wales, 1851-1911". Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283968.
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Grace, Elizabeth Ellen. "Women, nation, narration : a comparative study of Japanese and Korean proletarian women's writing from the interwar years (1918-1941)". Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709209.
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Steele, Helen. "The experiences of women in Vienna, 1944-1948". Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678564.
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Serbulo, Leanne Claire. "Women Adrift, Sporting Girls and the Unfortunate Poor: A Gendered History of Homelessness in Portland 1900-1929". PDXScholar, 2003. https://pdxscholar.library.pdx.edu/open_access_etds/741.
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This purpose of this study is to incorporate women into the history of homelessness. Women's experience is missing from the narrative of industrial era homelessness, which causes researchers to make a distinction between the modem day homeless population and its predecessors. This distinction prevents researchers from examining the long term structural causes of homelessness and analyzing the role homelessness plays in U.S. society. This study explores the population characteristics and living conditions of three groups of women who were considered homeless during the early decades of the twentieth century in Portland. These groups include single working women who lived away from their family, prostitutes, and single mothers. This study also traces the development of charitable institutions and social welfare programs that arose to meet the needs of homeless women during this era and examines the relationships between homeless women and the reformers and charities that took up their cause. The inclusion of women's experience into the history of early twentieth century homelessness necessitates a broadened definition of the homeless phenomenon. Women's homelessness during this era was both defined and determined by their family situation. Women who lived outside of the patriarchal family were considered homeless and suffered economic hardship because of their non-traditional living arrangements. Incorporating an analysis of home back into homelessness will result in non-gendered policy implications. Labor market remedies and affordable housing solutions are still needed, but changes to the structure of the household economy are also called for. The unpaid labor women traditionally perform must be socially and economically valued and the sexual division of labor within the home needs to be challenged.
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Li, Jing. "Self in community: twentieth-century American drama by women". HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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Black, Latoya R. "Breaking barriers : oral histories of 20th century African-American female journalists in Indiana". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371196.
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This study introduced six African-American female journalists in Indiana and provided an intimate account of their perception of media in regards to African-American female journalists of the 21st century. The women were publicly analyzed with a series of questions and candidly discussed the role of Black female journalists at work, in their personal lives, and their communities in general. The women shared similar responses in regards to four main topics: diversity in media, gender-related challenges, career enjoyment and impact on their communities. The most pressing issue of concern was diversity. All of the women agreed that diversity is ineffectively addressed and provided suggestions. The two research questions concluded (1) none of the women credited any female pioneer in Black journalism to their success and (2) the women did not credit early Black female journalists toward their decision to obtain longevity in journalism.Department of Journalism
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Cheng, Oi Man. "Model missives : epistolary guidebooks for women in early twentieth century China". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1466.
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Dounia, Margarita. "Your roots will be here, away from your home : migration of Greek women to Montreal 1950-1980". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81483.
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Ce travail est une analyse historique de l'experience migratoire feminine, examinee par le coin de femmes emigrants grecques. Le zenith de l'emigration grecque au Canada se date aux premieres annees apres la Deuxieme Guerre Mondiale, quand la situation politique, economique et sociale en Grece combinee avec les regulations etabli par le Canada sur l'emigration ont contribue au mouvement des plusieurs femmes grecques vers ce qui semblait comme un 'meilleur future'. Cette these qui tient comme base les temoignages oraux, examine les fonds des femmes grecques, leurs experiences au Canada, leurs activites et leurs identites transnationales.Bien que plusieurs travaux d'academiciens on analyse la perspective feminine de phenomenes migratoires, peu d'attention est attribue au cas des femmes de l'Europe du Sud (une categorie d'emigrants un favorise) comme les Grecs. En plus, plusieurs travaux ont echoue de creer une analyse profonde et sensitive vers feminite, que pourra surmonter les stereotypes, les prejuges et les preconceptions sur feminite. Cette approche aspire d'introduire une dimension analytique importante, cella du transnationalisme, concernant les roles sociaux, les identites et les activites des femmes emigrants grecques. Finalement les temoignages oraux atteint un role central pour le caractere et la realisation de cette these.
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Datta, Anjali. "Rebuilding lives and redefining spaces : women in post-colonial Delhi, 1945-1980". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708474.
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Mills, Pamela J. "Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films". Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.
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World War II was a time of great changes. Many aspects of American society underwent profound shifts but one predominant part of American culture did not change -- theaccepted roles of women. The government documentary films of World War II reveal attitudes, ideas, and assumptions which not only reinforced traditional roles but also reflected theresistance to gender-role alterations. Women during the war were not only shaped by such cultural messages but many subscribed to them wholeheartedly. The films emphasize twospecific images of women -- Susie Homemaker and Rosie the Riveter -- and also reflect society's image of women as homemakers first and war workers second. This double vision,reflected throughout the documentary films became the catalyst which maintained women in traditional roles and, in turn, rejected attempts to alter those roles in any significant way.This study uses the vehicle of World War II documentaryfilms, utilizing the World War II Historical Film Collection, Bracken Library, Ball State University (the largest collection outside the National Archives), the Office of War Information papers, and extensive secondary research, to investigate the images of women during the war years.Department of History
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction". Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Purdham, Medrie. "The encyclopedic imagination in the Canadian artist figure /". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85955.
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The "encyclopedic imagination" describes an artist's conviction that a work of art must be expansive and inclusive to a point of total embodiment. The artist (or dramatized artist figure) implies that the work of art must give a total account not only of the subjective life of the artist but of the reality to which the representing self responds. The focus of this study is not on any work's encyclopedic achievement (for the artist's inclusive ideal always remains well outside the actual capacity of the work), but on the relationship of the ideal of aesthetic all-inclusiveness to a problematic ideal of encompassing selfhood for the representing personality.Following an introduction that establishes modern and postmodern conceptions of the notion of aesthetic totality, this dissertation describes, in six Canadian works, the (untenable) radicalization of the self through the "encyclopedic" ideal. Chapter one considers Ernest Buckler's The Mountain and the Valley (1952) and notes that the protagonist's drive towards total representation is costly to his sense of authentic temporality. Chapter two identifies "total embodiment" as the governing poetic principle of P. K. Page's The Hidden Room (poems c.1942-1997), and suggests the relation of this ideal to Page's apparent creative crisis. Chapter three examines the ethics of all-inclusive representation in Leonard Cohen's Beautiful Losers (1966) and argues that the novel's vision of the world incorporated into a single body is a reflection of both the totalitarian politic of One Man and of apocalyptic-beatific "total identity." Chapter four looks at Margaret Atwood's Cat's Eye (1988) in terms of the trope of the "perverse museum" in Atwood's oeuvre. The novel's treatment of representation as exhibition figures identity as a matter of insatiable demonstration. Chapter five considers the "life-long" poems of Louis Dudek (Continuation c.1971-2001) and bpNichol (The Martyrology 1967-1988) as particularly marked cases of works that must continue until they have enfolded a coherent world-view into an all-encompassing subjectivity.
Each chapter stresses the counterintuitive quality of the "encyclopedic" ideal and demonstrates that a total yet coherent representation of the world seems inversely proportional to a coherent yet total representation of the self.
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Madhani, Taslim. "Constructions of Muslim identity : women and the education reform movement in colonial India". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98555.
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This thesis examines educational reforms initiated by British colonial officials in late nineteenth/early twentieth century India and the responses they ensued from Indian Muslim reformers. Focusing on the "woman question," British colonizers came to the conviction that the best method to "civilize" Indian society was to educate women according to modern Western standards. Muslim reformers sought to resolve the "woman question" for themselves by combining their own ideologies of appropriate female education with Western ones. Muslim reformers were also deeply concerned with the disappearance of Islamic identity owing to colonial educational policies. Reformers placed the responsibility of maintaining Islamic culture on the shoulders of women so as to both resolve the debate over the proper place of women in society and retain a distinct Islamic identity in the changing Indian context. This resolution limited Indian Muslim women's access to education as well as their participation in Indian society at large.
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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.
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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make
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Scott, Codee. "A Woman's Place is at Work: The Rise of Women's Paid Labor in Five Texas Cities, 1900-1940". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011821/.
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This thesis is a quantitative analysis of women working for pay aged sixteen and older in five mid-size Texas cities from 1900 to 1940. It examines wage-earning women primarily in terms of race, age, marital status, and occupation at each census year and how those key factors changed over time. This study investigates what, if any, trends occurred in the types of occupations open to women and the roles of race, age, and marital status in women working for pay in the first forty years of the 20th century.
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Boyer, Laura Kate. "The feminization of clerical work in early twentieth-century Montreal /". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37873.
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This research examines the changing relationships of gender, place and identity wrought by women's entrance into Montreal's financial service sector between 1900 and 1930. I seek to answer two related questions. First, what kinds of identities were enabled in the new spaces created by the feminization of clerical work? In particular, how was gender, sexual, and ethno-linguistic difference constructed within the mixed-sex clerical workspace? Second, what effect did women's entrance into corporate workspaces in the financial district have on prevailing notions about gender, class and urban space? How did this change in labour markets affect representations of women in public more generally?I make three arguments about women's entrance into Montreal's white-collar workforce. First, I argue that this process created a new kind of "contact zone" within and beyond the white-collar workplace. In these spaces, people came together across cleaves of difference, and ideas about nationalism, class, religion, and language were negotiated in new ways. Secondly, I argue that women's entrance into this sector of the labour market was marked by contradiction. On the one hand, women were held responsible for bringing sexuality into the white-collar workplace, and were sexualized within corporate culture. On the other hand, ideas about "respectability" defined through sexual propriety and corporeal restraint were central to the corporate image as well as media representations of female clerical workers. Finally, I argue that the feminization of clerical work re-mapped relations of gender, class and space. In the highly modernized offices of the financial district, ideas about public womanhood competed. I argue that this change in labour helped legitimize representations of modern womanhood which were consummately urban in nature.
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李仕芬 e Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.
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Baert, Renee. "Poetics of the body in feminist art : three modalities". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
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Chen, Shuangli, e 陳霜麗. "Cultivating new ryōsai kenbo : St. Agnes' School in the Meiji period". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2015. http://hdl.handle.net/10722/209473.
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This thesis examines the contribution and influence that American Protestant missionary girls’ schools had on Japanese women’s education during the Meiji period. Between 1868 and 1912, over thirty missionary girls’ schools were established. These schools had the primary aim of introducing Christianity to Japanese female students. However, at the same time, they provided young women with opportunities for schooling outside of their families and played a pioneering role in promoting “Western enlightenment” inside and outside the classrooms. Set against the backdrop of Japan’s modernization efforts, this thesis uses as a case study St. Agnes’ School (Heian Jogakkō), one of the oldest missionary girls’ schools in the Kansai region, to consider how it cultivated new middle-class women through its education.
Under the slogan of ryōsai kenbo (good wife, wise mother), the Japanese government introduced primary school education for girls as a part of its initiative to build a modern nation. The government considered the home women’s proper sphere and showed little interest in developing women’s secondary and higher education in the first two decades. Therefore it was private schools including missionary girls’ schools like St. Agnes’ that stepped in and filled the void for secondary education. Furthermore, the school introduced advanced courses such as bungaku bu (Arts Division) and kasei bu (Home Economics Division) in 1895. The aim of bungaku bu was to cultivate women who could engage in work for the public benefit.
St. Agnes’ School was established by the Episcopal Church of the United States of America in 1875 in Osaka and later moved to Kyoto in 1895. The thesis explores the academics and practical skills St. Agnes’ taught in its classrooms, chapel, and dormitory. These included English language, Bible classes, science, physical training, and domestic science, including skills such as needlework and the concept of hygiene, which were considered important for American middle-class women. In addition, the school presented regulations on girl students’ decorum, provided a mentoring relationship between missionaries and students, and encouraged girl students to participate in charity and volunteer work such as raising funds for the poor, orphans, and disaster victims.
By using historical documents, including the letters of American Episcopal missionaries and students’ letters and essays in from the archives of St. Agnes’ School, the thesis argues that missionary girls’ schools like St. Agnes’ School cultivated new ryōsai kenbo and ultimately new middle-class womanhood. It presents a case study of its two star graduates: Ukita Fuku, a scholarship recipient who later became a teacher at her alma mater; and Izumi Sonoko, who successfully developed American cookie-baking skills into a family business and became one of the most successful businesswomen and philanthropists of her time. Through their missionary school education, they acted as new middle-class women who engaged in “socially sanctioned activities” such as teaching and charity services in the social sphere. The education helped to construct new norms for middle-class women who worked in both domestic and social spheres in modern Japan.published_or_final_version
Modern Languages and Cultures
Doctoral
Doctor of Philosophy
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Callaway, Helen. "European women with the Colonial Service in Nigeria, 1900-1960". Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670408.
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Casey, Walter Thomas. "Unexpected Unexpected Utilities: A Comparative Case-Study Analysis of Women and Revolutions". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2728/.
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Women have been part of modern revolutions since the American Revolution against Great Britain. Most descriptions and analyses of revolution relegate women to a supporting role, or make no mention of women's involvement at all. This work differs from prior efforts in that it will explore one possible explanation for the successes of three revolutions based upon the levels of women's support for those revolutions. An analysis of the three cases (Ireland, Russia, and Nicaragua) suggests a series of hypotheses about women's participation in revolution and its importance to revolutions' success.
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Ng, Po-chu, e 伍寶珠. "Writing about women and women's writing". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.
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McCann-Washer, Penny. "An American voice : the evolution of self and the awareness of others in the personal narratives of 20th century American women". Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063194.
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The purpose of this study is to understand the connections between the public and private worlds of American women as described in their journals and diaries and to show how the interaction between the two realms changed the way women thought about themselves, their roles, and their environment.A total of ninety-four personal narratives were examined for the study and from that number, four were profiled. Two personal narratives were examined that were published following the Suffrage Movement and two personal narratives were chosen that were published following the Liberation Movement. Methods of rhetorical analysis were used to focus on changing levels of women's awareness of self, community, roles available to women, and issues appropriate for women's attention. I examined text divisions and organization, sentence structures, and markers of audience awareness.A pattern emerges demonstrating five metamorphoses: as the twentieth century continues, women's personal narratives are exhibiting greater self-awareness, greater audience-awareness, awareness of responsibility to the community of women, and awareness of expanding opportunities for women as well as generating an ever increasing readership.Department of English
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Breashears, Margaret Herbst. "An Analysis of Status: Women in Texas, 1860-1920". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc279203/.
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This study examined the status of women in Texas from 1860 to 1920. Age, family structure and composition, occupation, educational level, places of birth, wealth, and geographical persistence are used as the measurements of status. For purposes of analysis, women are grouped according to whether they were married, widowed, divorced, or single.
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Austin, David L. "Women, Witchcraft, and Faith Healing: An Analysis of Syncretic Religious Development and Historical Continuity in 20th Century Zimbabwe". Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620691659340769.
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Yang, Jing, e 杨静. "The construction of the Chinese woman in 1990s American cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.
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Rocco, Patricia. "Performing female artistic identity : Lavinia Fontana, Elisabetta Sirani and the allegorical self-portrait in sixteenth and seventeenth-century Bologna". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99389.
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Artemisia Gentileschi's self-portrait, Allegory of Painting, painted in 1630, has activated a complex discussion of female artistic identity in which performance is tied to concerns with status. This thesis addresses an earlier history of development in allegorical self-portraiture in the work of the sixteenth-century Bolognese artist, Lavinia Fontana, and her seventeenth-century successor, Elisabetta Sirani. I argue that the female artist's negotiation for status was played out in the transformation from a more official mode of self presentation, such as Fontana's Self-Portrait at the Keyboard , to a deliberate performative shift of embodied personification in her self-portrait as Judith with the head of Holofernes and her later self portraits as St. Barbara in the Apparition of the Madonna and Child to the Five Saints. This negotiation of artistic status continues with Sirani's self-portraits in Judith and the Allegory of Painting, and as what I suggest are more ambiguous and ambitious representations of anti-heroines, Cleopatra and Circe. I also discuss the important role that the emerging genre of biography plays in the female artist's struggle for status. The thesis explores the shift in visual conventions in relation to discourses of artistic identity, gender and genre---such as the donnesca mano---that circulated in Renaissance historiography in Italy, and more specifically, in the cultural milieu of Bologna.
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Yu, Yuen-yee Frankie, e 余婉兒. "Living on the margin". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015168.
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Miknytė, Jurga. "The construction of the social role of women in public discourse in mid-19th – early 20th-century Lithuania". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20091216_105340-12590.
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Vytautas Kavolis noticed that an analysis of the attitude towards women is important not only to reveal specific aspects of social life but also to distil out the general sociocultural and sociopolitical tendencies of a period. Lithuanian historiography that examines the formation of the modern society in the mid-19th – early 20th-century Lithuania is especially focused on the discussion of the awakening of consciousness and activity of the various social groups. But the construction of the consciousness of women and the conception of their social role in public discourse has hitherto not been investigated. The aim of this dissertation is to analyse the construction of the social role of women in public discourse in mid-19th – early 20th-century Lithuania. The main objectives are to ascertain: from when did women begin to be seen as an important participant in the social processes in the public discourse in Lithuania; what social role was constructed for Lithuanian women by the participants in the different discourses; whether the construction of the social role of women was affected by the structure of the contemporary society and the changes to this structure; how much and how the construction of the social role of women was affected by the spread in Lithuania of the ideas of positivism, nationalism, liberalism, socialism, and Christian democracy. The investigation begins in the mid-19th century, the 1840s. At that time women became an important and popular subject of... [to full text]Vytautas Kavolis yra aktualizavęs tezę, kad požiūrio į moterį analizė yra svarbi ne tik socialinėms gyvenimo konkretybėms atskleisti, bet ir bendrosioms sociokultūrinėms bei sociopolitinėms laikotarpio tendencijoms išgryninti. Lietuvos istoriografijoje, nagrinėjančioje modernios visuomenės Lietuvoje formavimąsi XIX a. viduryje–XX a. pradžioje, itin daug dėmesio skiriama įvairių socialinių grupių sąmoningumo, aktyvumo visuomenėje žadinimui aptarti. Tačiau moters sąmoningumo konstravimas, jos socialinio vaidmens samprata šio laikotarpio viešajame diskurse Lietuvoje iki šiol išsamiau netyrinėti. Disertacijos tikslas – išanalizuoti moters socialinio vaidmens konstravimą viešajame diskurse XIX a. vidurio–XX a. pradžios Lietuvoje. Keliami uždaviniai išsiaiškinti: nuo kada viešajame diskurse XIX a. vidurio–XX a. pradžios Lietuvoje moteris pradedama vertinti kaip svarbi visuomenės procesų dalyvė; kokį moters socialinį vaidmenį XIX a. vidurio–XX a. pradžios Lietuvoje konstruoja skirtingų diskursų dalyviai; ar moters socialinio vaidmens konstravimui įtakos turi aptariamojo laikotarpio visuomenės sąranga ir jos pokyčiai; kiek ir kaip moters socialinio vaidmens konstravimą veikia pozityvizmo, nacionalizmo, liberalizmo, socializmo, krikščioniškosios demokratijos idėjų sklaida Lietuvoje. Tyrimas pradedamas XIX a. vidurio laikotarpiu, 5-uoju dešimtmečiu. Tuomet pirmą kartą modernėjančios Lietuvos istorijoje moteris tampa svarbiu ir populiariu viešųjų svarstymų objektu. Tyrimas baigiamas XX... [toliau žr. visą tekstą]
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Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.
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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism.
In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations
of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Radford, Mary Therese. "The law and domestic violence against women : the history of law reforms in relation to domestic violence against women from the 18th to the 20th century and an analysis of women victims' needs in contemporary socio-legal discourse". Thesis, University of Bradford, 1988. http://hdl.handle.net/10454/3875.
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The thesis is divided into two parts, Part I contains four chapters which map the pattern of legal changes relating to domestic violence against women from the 18th century to the 1980s. The history is written from the viewpoint of the legal interventions available to and used by women victims of domestic violence. Statutory enactments, case law and procedural changes in the relevant areas of criminal, family (ecclesiastical) and welfare law are described. Throughout Part I the discussion of the remedies available and reforms implemented is supplemented by the inclusion of case examples and statistical evidence showing local and national patterns of use. Chapter 1 describes the period from the start of the 18th century to the begining of the 20th; Chapter 2,1900 to the 1960s, Chapter 3 from 1969 to 1977 and Chapter 4 the more recent history in the 10 years between 1977 to 1987. Part II contains five chapters and is based upon an analysis of women victim's needs in contemporary socio-legal discourse. Part II grew out of a concern about the part played by the law in the secondary assault of women. The main aim of the discussion is to look at how women victims' self defined needs inform the practice of the law and how the legal approach contributes to the creation of violent relations between men and women in the social institution of heterosexuality. Part II emphasises the use of written and spoken language in interactional settings to define women's needs. The discussion is based upon the analysis of: 1. a survey of women involved in 54 legal cases concerning their partners' behaviour supplemented by interviews with legal advisors; 2. case records obtained from solicitors' offices with the womens' permission; 3. over 300 decisions traced from the published Law Reports; 4.105 press reports of cases of domestic violence against women. Chapter 5 describes the method employed in the research for Part II. Chapter 6 contains the analysis of the women's cases; Chapter 7 the reported decisions and Chapter 8 the press reports. Chapter 9 offers a summary of academic discourse and the abuse of women as well as a concluding discussion on some possibilities for the empowerment of women in law.
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Thompson, Susannah Ruth. "Birth pains : changing understandings of miscarriage, stillbirth and neonatal death in Australia in the Twentieth Century". University of Western Australia. School of Humanities, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0150.
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Feminist and social historians have long been interested in that particularly female ability to become pregnant and bear children. A significant body of historiography has challenged the notion that pregnancy and childbirth considered to be the acceptable and 'appropriate' roles for women for most of the twentieth century in Australia - have always been welcomed, rewarding and always fulfilling events in women's lives. Several historians have also begun the process of enlarging our knowledge of the changing cultural attitudes towards bereavement in Australia and the eschewing of the public expression of sorrow following the two World Wars; a significant contribution to scholarship which underscores the changing attitudes towards perinatal loss. It is estimated that one in four women lose a pregnancy to miscarriage, and two in one hundred late pregnancies result in stillbirth in contemporary Australia. Miscarriage, stillbirth and neonatal death are today considered by psychologists and social workers, amongst others, as potentially significant events in many women's lives, yet have received little or passing attention in historical scholarship concerned with pregnancy and motherhood. As such, this study focuses on pregnancy loss: the meaning it has been given by various groups at different times in Australia's past, and how some Australian women have made sense of their own experience of miscarriage, stillbirth or neonatal death within particular social and historical contexts. Pregnancy loss has been understood in a range of ways by different groups over the past 100 years. At the beginning of the twentieth century, when alarm was mounting over the declining birth rate, pregnancy loss was termed 'foetal wastage' by eugenicists and medical practitioners, and was seen in abstract terms as the loss of necessary future Australian citizens. By the 1970s, however, with the advent of support groups such as SANDS (Stillbirth and Neonatal Death Support) miscarriage and stillbirth were increasingly seen as the devastating loss of an individual baby, while the mother was seen as someone in need of emotional and other support. With the advent of new prenatal screening technologies in the late twentieth century, there has been a return of the idea of maternal responsibility for producing a 'successful' outcome. This project seeks to critically examines the wide range of socially constructed meanings of pregnancy loss and interrogate the arguments of those groups, such as the medical profession, religious and support groups, participating in these constructions. It will build on existing histories of motherhood, childbirth and pregnancy in Australia and, therefore, also the history of Australian women.
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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.
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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.
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羅樂. "摩登"閨秀": 早期中國電影的儒家道德美學與現代性= Modern guixiu: Confucian moral aesthetics and Chinese modernity in early Chinese". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/466.
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在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。 然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.
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Guenther, Irene. "Nazi "chic"? Fashioning women in the Third Reich /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3032406.
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AXINIA, Anca Diana. "Women and politics in the Romanian Legionary Movement". Doctoral thesis, European University Institute, 2022. https://hdl.handle.net/1814/73796.
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Defence date: 13 January 2022Examining Board: Professor Laura L. Downs, (European University Institute); Professor Pieter M. Judson, European University Institute); Professor Irina Livezeanu, (University of Pittsburgh); Professor Kevin Passmore, (University of Cardiff)
This thesis examines women’s participation in the Legionary Movement or Iron Guard, a far-right, anti-Semitic movement active in interwar Romania. Over four chapters, I analyze how the participation of women changed over time, the different forms this participation took, and how these different forms shaped and redefined political relations within the movement. The first chapter focuses on women’s participation in the student activism that characterized Romanian universities throughout the interwar period. University politics played a major role in the origins, development, and self-image of the Legionary Movement. The chapter follows the evolution of the movement’s use of university politics through the lens of increasing female participation. The second chapter is entirely devoted to the exploration of family relations in the Legionary Movement’s ideology and experience. In the third chapter, I analyze the open support or sympathy for the Legionary Movement held among the intellectual elites of Bucharest, the aristocracy, and, finally, among some feminist circles. Gender and class dynamics are inseparable in the analysis of the political beliefs and activity of the women protagonists of this chapter, whose support of or sympathy for the Legion complicates the notion of membership and opens different perspectives on the intersection of gender and class within the movement. Finally, the fourth chapter explores the adoption and adaptation by some legionary women and, especially, by the more formal feminine section, of violence as a form of political action. What emerges from this study is the experimental nature of women’s participation, the constant redefinition of its forms and limits. Moving in an ideological framework designed for them by men, women found their space(s) of agency at the interplay of discourse and practice, through the opportunities for political action offered by the complexity of lived experience.
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Chan, U. Wai. "An autonomous and unautonomous body : the making of Macau's female working class, 1957-1989". Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2590567.
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